TRACK REVIEW: Joel Culpepper - Remember

TRACK REVIEW:

Joel Culpepper

PHOTO CREDIT: FELIX

Remember

9.5/10

The track, Remember, is available from:

https://www.youtube.com/watch?v=qjvhYLf0q3Q

GENRES:

Alternative R&B/Soul/Trip-Hop/Funk

ORIGIN:

London, U.K.

The album, Sgt Culpepper, is available via:

https://www.roughtrade.com/gb/joel-culpepper/sgt-culpepper

RELEASE DATE:

23rd July, 2021

LABEL:

Mr. Bongo

__________

THIS time around…

I am spending some time with one of the best young artists around. Even though I only discovered Joel Culpepper’s music relatively recently, he has been recording for a long time now. I feel his music at the moment is the strongest it has ever been. With his new album, Sgt Culpepper, out and receiving so much love, there is definitely a lot of eyes cast his way. I am going to make my way to the album soon enough. Before then, there are a few things that I need to cover off. I am interested in Culpepper’s childhood and when he started singing. In this 2017 interview, we discover more about Culpepper’s upbringing and when singing came into his life:

“C: We start, as we always do. The beginning. Where were you born? How was life as a kid and what were you like?

J: I'm a south east London boy. Originally Peckham until I hit 11 and my mum was like "nah we're moving..." I don't think she wanted me to get in with the wrong crowd and I was already a known face on the estate. Not in a bad way but maybe with her being a probation officer, she saw a pattern about to emerge. I'd like to think I was a good kid in a mad city. I cried when we left... Moved to sunny Catford. New school, new friends, new everything.

PHOTO CREDIT: The Flash Pack

C: Peckham! Very early for a tangent but was this around the same time when the TV show "Desmond's" was on?

J: Yep! Actually got my haircut in Desmond's. Obviously not the TV set but it was based on a real barbershop. I went there once, they butchered me.

C: Ahaaaaa! That's amazing. That's a Top 5 show for me, I had to ask.

Alright, back to you. So mother was a probation officer, was it just you and your mother growing up?

J: No. Me & my elder sister. My mum raised us. My mum separated with my ol' man but he had a pub in Peckham at the time so I would go and visit him. Very popular man, always had his friends wrapped round him.

C: I see. So, how were you exposed to music back then? Was it you listening to whatever your sister or mother listened to or did you have a more independent ear?

J: I remember quite vividly my sister bringing home two LP's. Boyz II Men and Mary J Blige. Eventually, H-Town was in there, Heavy D (who my mum fancied) and it just sort of grew from there. Mum played Luther [Vandross] a lot in the house... A lot bro!!! But also a lot of Whitney, Gloria Estefan. Wow, a lot of memories there.

C: Heavy D huh? I see you Mama Culpepper!

So that's a very eclectic mix. A lot of soul, R&B, little bit of Hip-Hop in there. Putting a pin in what music shaped you for the time being. When did singing come in? Because I've assumed is that you started out very recently, sometime within the past 5 years. Am I wrong there?

J: I've been singing a while, it just took me awhile to find my voice I think. Everyone I knew and their gran sang, so I didn't even wanna admit it caught me the way it did”.

Sgt Culpepper, as I say, is the new album from the London-born artist. I have been listening back to his first two E.P.s, Skydive and Tortoise. When he spoke with The Soul House in 2019, Culpepper was asked about these terrific works:

“Culpepper’s first EP Skydive came out in 2012. While enjoying his early material, I note that his more recent music seems darker, grittier, and edgier both sonically and lyrically. Culpepper agrees: ‘I love that you feel that as well.’ While Culpepper was scoping out his artistry in his early material, he has since become convinced that he wants his music to be as raw and free as possible. ‘I now have a sledgehammer and I’m going to town! It’s important to break the rules.’ But he clarifies: ‘You need to know them first.’

Skydive garnered some industry attention. Culpepper sees Jimmy Hogarth – a London-based songwriter and producer (Duffy, Amy Winehouse, Estelle) – as the first industry veteran to see potential in him. Together they produced ‘Don’t Mean I’m In Love’, a track from Culpepper’s most recent EP Tortoise (2017), in a single take. Culpepper also has a personal friendship and professional relationship with Guy Chambers, a formidable writer, musician and producer best known for his work with Robbie Williams.

Culpepper’s sophomore EP Tortoise (2017) was another turning point. And understandably so: it showcases Culpepper’s raw vocals and songwriting chops. I quiz him about two of the standout tracks from the album. ‘Far From Your Average’, which tends to open Culpepper’s shows, is the best James Bond theme that never was. It is dripping in gravitas. The song was produced by Rich De Rosa (Rita Ora, Example) and Morgan Nicholls (Gorrilaz, Muse). Culpepper describes how the song draws upon a series of bad relationships as well as a general dismissive attitude he observed from others about his prospects as a performer. ‘The message that I want to convey in the song is “you should have never underestimated me”.

I want to focus on the Tortoise E.P. for a little bit. Even though the E.P. took a while to make, one can hear the effort that has gone into it! I have been listening to it in preparation for this review. One can hear Culpepper growing and building as an artist from his earlier work. His voice especially sounds at its very best. Returning to the first interview I quoted from, Culpepper spoke about creating Tortoise:

“So with that, knowing that you can really do this, we can move a little closer to now, what would you consider your next milestone?

J: I've done the EP thing and I'm ready to put out a body of work. A concept album. I've been working hard at it & hopefully I get it right. Just trying to stay away from the pressure of making it great and make it honest, something I like.

C: Ah yes! We'll get to the album but I'd like to talk "Tortoise" if you don't mind. Actually, I had a question in mind but this one is better. Why "Tortoise"?

J: Because I saw a tortoise ornament at a mates house when I was round for tea. Beautiful looking thing but not in a loud or obvious way. And then I realised I've eaten dinner here a thousand times but never noticed this tortoise. It's always been here. I sort of liked the idea in finding an identity with it. It hides in plain sight and always consistent. In the story of the Tortoise and The Hare it was underestimated because it was never counted in the race. The perceived weakness was almost used as a strength for the Tortoise because the Hare never saw him coming which makes the Tortoise more dangerous than anyone, what a threat.

My EP took 4 years to make but I think it's subtle release continues to creep on people, maybe something that wasn't expected I'm not sure. Well I hope it does anyway. Artists that really move me are not necessarily fast but they do impact. I want impact.

C: Very nice! Always love a backstory. I especially love that last bit about taking time. I'm completely fine waiting years for my favourite artists to drop their next project. As a writer I believe the longer you marinate on something, the better it becomes. But there are exceptions”.

PHOTO CREDIT: Lauren Luxenberg for CLASH

One of the most arresting and distinct elements of Joel Culpepper’s music is his soulful voice. We have a few soulful singers in the U.K., though I have often associated the U.S. with having the best Soul singers. Maybe I need to readjust that. Culpepper is certainly an artist with a rich and powerful voice that captures you. Coming back to that interview from The Soul House, Culpepper questioned whether he was a Soul artist:

“When I ask whether Culpepper thinks of himself as a soul artist, he answers directly: ‘I do soulful music and I’m inspired by a lot of soulful artists.’ However, he argues that soul music is somewhat ubiquitous. ‘I think soul music is everywhere in every kind of genre… I’ve found it in Beach Boys; I’ve found it in Tame Impala.’ He therefore stresses the importance that the genre be seen as progressive, drawing comparisons to how the jazz scene has evolved in the UK.

Given his position on the many faces of soul, I ask Culpepper what he deems as the common denominator in soul music. Though acknowledging that there are various factors, he pins down the voice as key. ‘It doesn’t need to be a voice that is massively acrobatic. It has to have a resonance, a tone that definitely has a bit of melancholy to it.’ He specifically calls out Dan Auerbach, lead vocalist of the Black Keys, as an example of this. When I ask him who he regards as the definitive soul voice, he answers with Donny Hathaway. ‘He has the perfect blend of happy and sad. It’s in his voice the minute you hear it.’ He argues that this duality is another characteristic feature within soul, noting the interdependence between joy and pain in the Negro Spirituals. ‘They sang to alleviate pain, to deal with suffering, to feel a level of joy.’

The specificity with which Culpepper discusses soul music is unsurprising given his upbringing. While his parents themselves were not musical, he was exposed to soul music as a child living with his mother in South-East London. ‘I used to watch my mum downstairs eyes closed with the stereo system on just playing Luther Vandross.’ He also namechecks the likes of Teddy Pendergrass, Diana Ross, and Whitney Houston as particular favourites in his household. His father was a particular fan of Randy Crawford. Using his parent’s tastes as a starting point, he went further back, discovering the likes of Prince, Stevie Wonder, Curtis Mayfield, and James Brown. It was at an uncle’s prompting that he first heard Donny Hathaway.

Culpepper went on to study the likes of Jill Scott, Musiq Soulchild, and Eric Roberson as they spearheaded the neo-soul movement. Initially disheartened that he did not sound like Boyz II Men like his peers in church, it was upon listening to D’Angelo that he began to harness his own falsetto and understand the capabilities of his voice. Thought of as a promising dancer and visual artist, friends and family gradually came to see Culpepper’s potential as a musician.

I direct our discussion onto the British soul landscape. Culpepper’s appraisal is positive and optimistic. ‘I think it’s growing; I think it’s re-defining itself.’ He points to singer-songwriters Jordan Rakei, Tom Misch, and Michael Kiwanuka as champions of this progressive streak.

Sticking to the topic of British soul, I refer to the mainstream success of artists like Duffy, Adele, and Sam Smith initially marketed as ‘soul’ or ‘soulful’. I float the argument that the industry has a problem marketing black British soul singers specifically. He agrees. ‘Black soul singers have always had a tricky time. Artists that I feel that should be on everybody’s lips and minds as living legends [are] people like Omar [and] Terri Walker. [They] deserve more props and respect for the music they’ve made but also the way they’ve paved some major roads for artists like myself to even exist.’

He also cites Lynden David Hall, Shaun Escoffery, and Beverley Knight as other important figures in British soul. In fact, Culpepper supported Ms Knight at the London Palladium as part of her I <3 Soulsville tour in 2017. He describes how Knight has ‘shown [him] such love and support’ in every encounter they’ve had”.

PHOTO CREDIT: Dan Knott

I am going to quote a lot from Music Glue. Sort of an official website for Culpepper, there is a great section that tells us about Sgt Culpepper; we discover more about the man behind it. Rather than cut it up and make it sounded a bit fragmented, I have brought in the entire thing:

“Joel Culpeppers’ subconscious knew that he was capable of making a great album before he did. A long-held joke with himself, “SGT CULPEPPER” is a pun that hints at the leadership he was wary of embodying, the relief when you realise you’re capable of all that you feared.

“‘SGT CULPEPPER’ just felt right as a title for so many reasons; ‘Sgt Pepper’s Lonely Hearts Club Band’ is recognised as one of the first concept albums obviously, but it’s also me finally being in this position to go, yeah, you've finally been approved to make an album, and here are all the soldiers involved,” he says. “The team of producers, the strategy and allegiances and legacy, with me having to steer it all; there’s an internal battle when you step into those public positions. It’s conflicting; you feel like you can do it, but at the same time you're scared of the outcome, even if it’s positive. And I feel like ‘SGT CULPEPPER’ is that story - who is this guy, and what is he all about?”

Born in Peckham before moving to Catford, South East London, Culpepper’s journey of musical self-discovery began as an ardent fan. From a very young age, he was raised on the work of the legends – watching from the top of the stairs as his mother swooned to the soulful vibes of Teddy Pendergrass on the record player, attending church during the growing era of Kirk Franklin and Fred Hammond’s Gospel cool. Friends were getting down to Chart RnB and American-import Hip-Hop, but for Joel, a true sense of belonging came with the discovery of both Prince and Neo-Soul, a fusion that shaped his ear for soaring falsetto and loose-swinging beats.

“Musiq Soulchild, D'Angelo, Jill Scott, Indie Arie, Erykah Badu, The Root, Dwele…it was literally like I’d found the world,” he smiles. “I got a little bit obsessive with it actually, a little too streamlined. But I had started to develop my own tastes, and then Prince suddenly became on my radar. With him, I learnt that the most powerful thing you can do as a performer is to allow yourself to be free in the moment – just do you and be present. Once I knew that, my performance flew.”

Having attended Croydon College as a performing arts student, a wide-eyed, 18-year-old Joel had seen enough episodes of MTV’s Making The Band to know that America was the place to be. Staying with an Aunt in the Bronx, he took to the streets with 100 demo CDs, thrusting them into the hands of likely industry types who showed interest in his style. Despite major label interest no deal was signed, but Joel returned to London with a much-needed sense of self-belief, the knowledge that he could put himself out there and survive. Now in his thirties, he believes that that early near-miss might have been the best thing to happen to him, allowing him to stay true to the kind of compassionate artist he wants to be.

“I do think friendship is a big thing for me; I lead with that and the music is second,” he says. “I want to understand who the person is that I'm working with and what they're about and if we can be pals. Not in a like 'please be my friend!' way, but everyone that I work with I respect; they’ve become family to me. Sometimes it takes time for the musical aspect to reveal itself; it did with me and Swindle. ‘Woman’ was maybe two years into our friendship, but we knew when we had something that felt right.”

An indispensable member of the Culpepper family, producer Swindle (Ezra Collective, Mahalia, Kojey Radical) plays a pivotal role in Joel’s creative expression, right there with him from the laidback 2017 EP ‘Tortoise’ (including the aforementioned ‘Woman’, the Colors Show performance of which has racked up 13-million-and-counting views) to the joyful style and ambitious focus of ‘SGT CULPEPPER’. Having mythicized the format of an album to impossible levels, the pressure Joel put upon himself to create his own ‘What’s Going On’ or ‘The Miseducation of Lauryn Hill’ created a kind of perfectionist-procrastination, the sort that can be difficult to snap out of without a good pep talk. Swindle, it seems, was that great friend.

“I don't know if it was anxiety, but there was definitely a responsibility to make a record that can do all these multiple things, you know?” says Joel. “It's got to have a strong identity, it's got to be impactful, it's got to be genuine but crossover. An album isn’t just a collection of songs; it’s a whole story. Where are the messages? Where is it nice, where is it sweet, where is it sour? It needs to pull and push and I think I just overthought it and became intimidated by it. My relationship with Swindle kind of changed that; recognising that we had not only great chemistry in our friendship, but at work too. I started collecting all these producers via unplanned scenarios, becoming friends and then naturally involving them in the record. When I finally asked Swindle to executive produce, it was him basically going 'Thank God. I've been waiting for you to ask forever, let's do it'. So, yeah, it took a while, but I think it needed to.”

Two years in the works, you can hear every note of the thought that was poured into ‘SGT Culpepper’, every participant holding an implicit understanding of what they wanted to achieve as a team. Inspired by the multiplicities of Joel’s Gemini star sign, it is a record that is split into four sections - the battle, the surrender, the love and the lesson, each guiding the listener through a process of acceptance and healing. Every aspect of that essential push and pull is addressed, from the skittering jazz-soul frustration of ‘Dead Bodies’ and ‘W.A.R’ (“I’m tired of having to turn the other cheek”) to the summery, lovestruck effervescence of ‘Kisses’ and the double-entendre of ‘Break’, simultaneously written about a struggling romantic relationship and the weathering nature of the Brexit debate. “It was the first song I had for the record, and I was just so proud that I’d achieved this kind of Soul Train, Al Green, Sly and The Family Stone moment.”

Across the record, you can hear the hand of all manner of collaborators and producers – Tom Misch, Redinho, Kay Young, Guy Chambers, Joker – but somehow, it all comes together to feel inherently Joel, the sort of record that would have slotted seamlessly into his Mother’s vinyl collection. Whether it’s the ‘Bennie & The Jets’-esque Piano on ‘It’s In Your Sex’ or the Smokey Robinson nod on ‘Tears Of A Crown,’ every reference is lovingly curated from a place of personal significance, a recognition that it is okay for him to play host in the journey through his life. It’s abundantly clear that he’s a soul man, but despite the caperings of lead single ‘Thought About You’ (featuring Joel and viral comedian Munya Chawama in impeccable 70’s disco dress), he was keen for his love of all things old-school not to come off as mere pastiche.

“It’s a really fine line - you don't want it to be try-hard or like, 'we get it, you like Soul'. I wanted to nod to things that had influenced me, but it also needs to work on radio in 2021. And that's where having the people within your team and the producers and the right sort of creative involvement kind of helps to steer it back in a direction that's authentic to yourself. We’re all very aware that I’ve probably listened to Curtis Mayfield a few times, but I want the audience to know other things about me as well.”

One of the most formative things to know about Joel is the time he has put in supporting the generation coming up behind him. Having worked in schools as a learning mentor for young people with challenging behavioural needs, it once again informs the importance he places on community spirit, rooted in the wisdom that it takes a village to raise a child. The experience runs through ‘SGT CULPEPPER’s desire to elevate other people’s stories, but really shines on the album closer, ‘Black Boy’, an unabashed celebration of all that it takes to be unique in the ever-growing pressures of the world.

PHOTO CREDIT: Michal Augustini for EQUATE Magazine

“I feel there have been so many important songs that address black men, but I wanted to hear a song that universally celebrated being a black lad with an upbeat Minnie Riperton, summertime vibe,” he says. “When I was writing I kept going back to this one memory of a boy I worked with, just this one morning when he was running late, bowling through the playground with such a confidence and an air about him. He had his older sister's leopard-print coat, a pink lunchbox, these ankle-swinger trousers with no socks on. Some of the kids were saying stuff, but he was just head forward, bowling through, didn't care. I'll never forget me turning around to the other teachers and them going 'he's got it, int he?' Like fair play mate, you've sussed out life. That lived with me; we spend our whole adulthoods trying to find ways to be that uninhibited, and he’d cracked it at 10 years old.”

“I just wanted him to have that message. I felt horrendous for leaving that job, but in my head, I just kept thinking, I don't just want to be the guy that just spoke about doing music – I want those kids to see me doing it. It’s very much me coming to terms with this contradicting feeling of responsibility that I want to carry, where you feel nervous but know you can spearhead it if you try. ‘Black Boy’ is very much in a space of nah, you're meant to do this – go ahead and tip the crown. ”

Standing on the shoulders of the musical giants we all know and love while also bringing his peers and mentees with him, Joel has found a way to craft a love letter to a community that lives simultaneously in the past and future, a retro-modernity that never feels stifled or contrived. Having conquered his uncertainties, is SGT Culpepper any closer to figuring out who he is?

“He's a leader, but he's also someone that doubted himself at points, as we all have. He’s showing you his weaknesses as well as his strengths,” Joel says. “I just want to tell that story through these chapters of this individual, the many sides to the one coin.”

“I think what matters is the experiences and the relationships that you form with people, the people who inspire you to really notch things up every time. I haven’t always been the ‘one to watch’ or the person on everyone’s radar, but there are so many people who are making me feel like you don’t just get one shot, like there’s a way to enjoy the journey. And that's the beautiful thing; I feel like I've only just gotten started.”

PHOTO CREDIT: The Flash Pack

That is quite a lot of information from the same source! I wanted to highlight it, as we get a rich and detailed story and background. I will move on very soon and review one of the tracks from Sgt Culpepper, Remember. I am excited to see where Culpepper heads next and how far his career can go. I know he will have tour dates coming up. Go and check out his social media channels to keep up with all the happenings. CLASH featured Culpepper earlier in the year. An interesting source of inspiration was key when making the album:

“On the album, they’ve tapped into the processes favoured by the masters of soul to create a cohesive body of work. “We went to watch Hitsville: The Making Of Motown in the cinema. There’s a blueprint that you follow in order to create those kinds of albums. We went to a remote studio, we stayed there for a week, we brought in musicians who played across the whole thing. Swindle was adamant that we spoke to each producer and made sure they understood the picture we were painting too. There was definitely a Quincy Jones element to the way we attacked this.”

Thematically, there’s a real urgency to the glimpses of ‘Sgt. Culpepper’ we’ve been given so far. ‘Return’ finds Joel meditating on thoughts of payback over a driving bass (“Hear them voices a calling / Trying hard to ignore them / But I wanna give in / Get up / And get lawless”) while the upbeat vibe of ‘W.A’R’ can’t mask his disdain at the treatment of marginalised groups. Justice and forgiveness is explored on the funk-licked ‘Poetic Justice’. It’s prescient music, reflective of testing times”.

There has been a lot of brilliant music put out this year. So many artists have been nodding to the past in quite a big way. Laura Mvula’s album, Pink Noise, was nominated for a Mercury Prize. It travels back to the 1980s in terms of its sonic inspiration. With Joel Culpepper, I can tell that artists like Stevie Wonder and D'Angelo are important. I selected Remember to review as it is my favourite song from the album. We get this cosmic and spacey sound. With a synth sound creating this intergalactic and evocative sound, there is a definite sense of build. Even though it is not necessarily tied to the theme and story of the song, it is a nice introduction that sounds great. I am a big fan of a good introduction and, with Remember, one is prepared for something pretty special! I do not want to draw too many comparisons, as it takes away from Culpepper’s singular talent. That said, with rousing horns and some processed vocals alongside his rich lead, there is a bit of Michael Jackson, Stevie Wonder and even Daft Punk in the blend. The spirit and energy of the first verse really hooks you in and gets the energy flowing. I am not sure whether the lyrics are based on true events or are aimed at anyone specific. He tells someone that, when they are down and need pulling up, “Remember what I told ya”. That mantra and piece of advice is the key to the song. Also, when they are in a rut and need the key to their life (a Stevie Wonder nod?) then, rather than being despondent and defeated, recall the advice Culpepper offered. It is a brilliant structure that ensures the lines stick in your thoughts for a long time. They are punchy and soulful. If love ain’t enough and things are looking bad, then they (whether it is a lover or friend) can hold onto some sage advice. I was intrigued what Culpepper said and whether he was holding his secret words back.

His vocals and sensational and filled with meaning and compassion. He wants you – again, whomever it is -, to feel loved and not be down. Culpepper’s voice grows hotter as the song steps up a notch when we hear the words come back again. Of being stuck in a rut and needing to be pulled up, there is an extra layer or two in the mix (there is a female vocal providing backing; I couldn’t see online whose it is). The build and power that emanates from the song is incredible. It is definitely motivated by classic acts. One can hear some of his influences in there, yet the most dominant sound is Culpepper’s unique D.N.A. With some great backing vocals and this belief that, despite what is happening and how things look, there can be this resolution, Remember very much seems like a song for these times. One of the biggest weapons of the song is the repetition. Rather than there being a lot of story and different lines, we get the catchy and memorable chorus that one cannot help but feel energised by. There is a nice section just before the three-minute mark that some big bass sounds and a great low, processed vocal that drops things down a bit. From the high-pitched vocal and sound before, the pace is still there, yet the tone has shifted a bit. I was not expecting it. It lends a nice new layer. I love that section. Culpepper sings “Do you remember?” and, again, I wonder what he said before and what this person needs to remember. One of the key strengths of Remember is its rhythm and how funky it sounds. I have not even mentioned Funk music and its relevance to Culpepper. Fusing classic Soul, Funk and Disco with something now and fresh, Remember is a song that contains a lot of depth and nuance – in spite of the fact that it has a simplicity and does not have too many lyrics. It is a terrific song. To me, it is the highlight of Sgt Culpepper. The album has been getting a lot of love. I would advise everyone to seek it out. I really like Culpepper’s earlier work - though I feel he is at his strongest and most astonishing on Sgt Culpepper. Without a doubt, he is one…