Artist:     Mick Hayes

Album:     My Claim to FAME

Label:     Move the Needle Music

Release Date:     5.29.2020

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BUY DIGITAL

BUY PHYSICAL

Yes, the legendary FAME studio in Muscle Shoals is very much alive and serves as a beckoning shrine to many budding musicians who have long dreamed of recording in that hallowed sanctuary. Enter Mick Hayes, born and raised in upstate New York, enthralled, as most of us were growing up, with great records from Wilson Pickett, Aretha Franklin, Solomon Burke, and Duane Allman that were recorded there. Much of the vintage equipment and even the room décor still remains. Hayes took his songs to FAME, was able to record with veteran Muscle Shoals session men, and in the process found his songs transformed beyond his expectations.

Before we get to the brimming soul of his ten songs, consider these session players: drummer Justin Holder (James Le Blanc), bassist Bob Wray (Ray Charles, the Marshall Tucker Band), keyboardist Clayton Ivey (Bobby “Blue “ Bland, Etta James, B.B. King), trumpeter Vinnie Ciesielski (Gladys Knight, Lyle Lovett), saxophonist Brad Guin (Jason Isbell), and rhythm guitarist Will McFarlane (Bonnie Raitt, Levon Helm). Hayes plays lead guitar and has two background vocalists. Hayes more than holds his own in this esteemed company with his booming voice and thoughtful, economical picking. The big sound is vintage Muscle Shoals, perfectly suited to his soulful, danceable, singalong tunes.

This is a soul record from the opening notes as “Sweet to Me” includes almost every soul song element from the ‘60s and ‘70s. Hayes is hiding nothing about his dreams of the place, singing “Hand Me Down 45s” in the mode of “Soothe Me” by Sam and Dave. It’s a nod to the resurgence of vinyl and hand me down culture. “Parking Lot Romance” echoes Ray Charles and early Little Richard. Hayes proves soulful balladeer on ‘My Heart” and summons the spirit of Duane Allman with his scathing slide solo on the syncopated story song “Ramona.”

“Political Funk” deals with the one-sidedness of media today over a filthy groove. Hayes tries to give all musicians a chance to shine and the tune, basic in structure, glows with horns, background vocals and one of his best lead vocals on the album. A clear standout is the late night R&B Curtis Mayfield-like “No Second Chances,” where the protagonist is dealing with damage control over substance abuse. His use of the wah-wah, which this writer usually abhors, is quite good and makes an effective ending. The closing “The Saddest Picture of Me” is akin to a Delbert McClinton ballad, and has strong parts for the background vocalists and a short slide solo from McFarlane.

This is straight-ahead vintage soul music that well reflects the FAME name and sound. Hayes is no pretender. He delivers the music with the right feel, precise phrasing, and solid arrangements. If you love that Muscle Shoals sound, you’ll appreciate this one.

—Jim Hynes