I had never heard of this, ‘Charles Bradley’ character until SXSW last month when he followed ‘The Dodos’ in supporting ‘The Black Angels’ at Cedar St Courtyard. It had been had a long, hot day trailing around the city to see a number of bands at various venues…the missus was toiling somewhat. Having just watched and enjoyed the lively ‘Dodos’ and in eager anticipation of the headliners, we took a step inside toward the bar and found a great spot on a nice leather sofa to relax and listen to the next act, ‘Charles Bradley’. The Glenlivet on ice was going down a dream, but I was largely unprepared for the music that was to follow…a slight diversion from the genre of the other acts on show. It felt like James Brown, Otis Redding and Al Green were back in the house. ‘Charles Bradley’ turned out to be quite the modern day a soul brother with his funky R&B and soulful sound filling the air of Austin. His performance that evening emanated unrefined energy, yet poignant tenderness.
I don’t want to write Charles Bradley’s biography, but given his tumultuous background and its impact on this particular album, I feel it’s appropriate to cast some light on his sad, but inspirational story.
Born in Florida in the late 40’s and later raised in Brooklyn, Bradley spent a large part of his childhood on the streets. In 1962, his sister took him to see ‘James Brown’ at The Apollo…this event had a lasting impression on a young, Bradley. An inspiration in the true sense with Bradley rushing home that evening to mimic his new idols moves with a broom. He had a purpose and a goal that drove him to get off the streets…this lit the touch paper on his music career.
Bradley later found his audience in the clubs of Brooklyn where he performed James Brown routines under the guise of ‘Black Velvet’. With things starting to look up, Bradley experienced personal trauma once more when his brother was shot and killed by his nephew. He was at an all time low when Daptone Records lead, Gabriel Roth took notice of his talents. One thing led to another and Bradley was introduced to, Thomas Brenneck of ‘Dirt Rifle and the Bullets’. The pair were like minded in their musical influences and became very close friends. When Bradley confided in Brenneck and told of his life’s traverses and tragedies, Brenneck was adamant that they work together and try to put his story to music. Producer, Brenneck released Bradley’s first two singles, ‘The World (Is Going Up In Flames)’ and ‘Heartaches and Pain’ prior to launching this album, ‘No Time For Dreaming’.
Kicking off with debut single, ‘The World (Is Going Up In Flames)’, Bradley really sets the scene with his gritty sound and emotional lyrics, pleading “don’t tell me how to live my life, when you never felt the pain”. Keys and horns collaborate well in this, one of the albums strongest tracks. ‘The Telephone Song’ then unearths the tender side of Bradley in this sultry, soulful love song which shares the smoothness of Marvin Gaye’s ‘Let’s Get It On’. A funky little song with horns again prevalent follows in ‘Golden Rule’ and Bradley basically conveying the importance of love and soul, inferring, “now you feel my heart and know I’m for real”.
Track four, ‘I Believe in Your Love’ emphasises the sheer quality of this man’s voice. Pure soul that harks back to the James Brown school of soul…so simple, but so bloody good. Nearing the midway point we are offered an instrumental in ‘Trouble In the Land’ which is short, but sweet (I guess). ‘Lovin’ You Baby’ is another example of Bradley’s immense vocals. Perhaps deeper and almost more gospel than other tracks, this is more in the vibe of Ben. E. Kings, ‘Stand By Me’ or, the Percy Sledge classic, ‘When a Man Loves a Woman’. It really could be James Brown singing this next couple of tracks, ‘No Time for Dreamin’’ with shrills of “gotta get on up” and ‘How Long’ which has a bluesy kind of vibe.
The album concludes with three soulful love songs and one kind of auto biographical tale ‘In You (I Found Love)’ where Bradley plays homage to NY and how grateful he is to the people who got his life back on track. ‘Since Our Last Goodbye’ is something of a diversion from the rest of the album. Not only is it another instrumental, but the beat and rhythm is very similar to bossa nova classic, ‘The Girl from Ipanema’. In the closer, Bradley sings about the tragic death of his brother in ‘Heartaches and Pain’. It ends the album as it started in which his sadness and trauma is felt through his quite simply, astounding vocals.
It was never really in any doubt that Bradley was born to entertain, but in the release of this album at the tender age of 62, he exudes an appetite and skill in songwriting as well. Charles Bradley has spent the majority of his time dreaming of a better life…I think he has arrived with the release of a captivating, raw and candid soul record. There’s really not a weak track on it. Rating 7.5/10
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