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- Wayne Talbert - vocals, keyboards

- Mother Earth

- Sir Douglas Quintet

Genre: rock

Rating: ** (2 stars)

Title:  Dues To Pay

Company: Pulsar

Catalog: AR-10603

Year: 1969

Country/State: Houston, Texas

Grade (cover/record): VG+/VG+

Comments: --

Available: SOLD

Catalog ID: 4512

Price: SOLD $25.00

Cost: $66.00

I've known about keyboardist Wayne Talbert for years.  The funny thing is I knew him through his work as they keyboard player in the Sir Douglas Quintet.  Until I stumbled across this LP, I didn't know he'd recorded any solo material.  Doing a little research I was even more amazed to discover that Talbert has been recording since the early 1960s.  In fact he made his solo debut with a 1962 single for the obscure New Orleans-based Venus Records - 'Two Hearts In Love' b/w 'all of Me' (Venus catalog number 1442).

From what I can piece together, Talbert's early 1960s work found him working with Dr. John (aka Mac Rebennack) and producer Huey P. Meaux.  The mid-1960s saw him doing prison time on drug charges in an Alabama jail (must have been a fun experience).  Released in 1967, he followed half of the country in moving to Los Angeles where he renewed his working relationship with Rebennack.  With support from Rebennack he landed a job with Irving Garr's Mercury Records' affiliated Pulsar subsidiary. 

Talbert's tenure with Pulsar led to the release of his first album - 1969's "Dues To Pay".  Produced by Rebennack (who also contributed the closing track 'The United State of Mind'), the LP sports one of the year's most depressing album covers; Talbert posed in an L.A. alley looking like a homeless wino, complete with tattoos and don't fu*k with me expression (albeit wearing what look like expensive boots).  Musically material such as the title track, 'What More Can I Say' and '' featured an interesting mix of blue-eyed soul, downbeat bluesy moves and a mild jazzy vibe.  In spite of some truly downbeat lyrics ('Schizophrenic Susan Minnick' and the oddly MOR-ish 'Hell of a World') the results are actually much better than you'd anticipate.  Interestingly, Talbert's keyboard moves and his rough hewn and slurred voice actually bare a mild resemblance to that of Dr John, or even Delbert McClinton on the funkier tracks ('Love Ain't What It Used To Be').  Mind you the set's far from perfect.  Talbert's voice certainly won't appeal to everyone and the horn arrangements (and strident female backing vocals) will certainly turn off quite a few folks.  In my simplistic rating scale, the horns caused the album to lose a star.

As mentioned earlier, in addition to his solo work he's best known for his work as a sessions player (James Cotton, Dr. John, Mother Earth, etc.) and as a member of Doug Sahm's early-to-mid 1970s Sir Douglas Quintet line up.

"Dues To Pay" track listing:

(side 1)

1.) Dues To Pay   (Wayne Talbert - Ira Kamin) - 6:19

2.) What More Can I Say   (Wayne Talbert) - 4:00

3.) Schizophrenic Susan Minnick   (Wayne Talbert) - 3:15

4.) Love Ain't What It Used To Be   (King Floyd - Little Milton) - 3:03

(side 2)

1.) Hell of a World   (Wayne Talbert) - 3:54

2.) Suddenly   (Wayne Talbert) - 3:23

3.) Funky Ellis Farm   (Wayne Talbert) - 3:06

4.) Cryin' Bag   (Wayne Talbert - Powell St. John) - 3:12

5.) The United State of Mind   (Mac Rebennack) - 3:15

Genre: blues-rock

Rating: *** (3 stars)

Title:  Houston Nickel Kicks

Company: Mercury

Catalog: SR 61259

Year: 1970

Country/State: Houston, Texas

Grade (cover/record): VG+/ VG+

Comments: --

Available: 1

Catalog ID: --

Price: $30.00

Yes, I knew who Wayne Talbert was before I bought this album.  I can't say I was overwhelmed by "Dues To Pay."  On the other hand, how can you not be attracted to an album that featured pinball machines on the cover?  Shoot, I'm pretty sure I've even played a Williams "Apollo" machine like the one Talbert's leaning against.  Pretty sure it wasn't five cents to play. Based on the checkerboard case, I believe the machine to the right is a 1967 Gottleib "Cowpoke".   Not sure about the third machine on his left.   I don't even want to think about how much money I've spent playing pinball.  My parents certainly would not be thrilled since much of it came from the allowances they funded.

Speculation on my part, but I'm guessing singer/keyboard player Talbert got his recording deal with Mercury Records as a result of being a member of The Sir Douglas Quintet.  Doug Sahm and company were signed to Mercury during the late '60 and early '70s so the connection makes sense.  It would be interesting to hear how Talbert made the connection with producer/all around eccentric Huey Meaux.  Unlike the prior album, this time out there were no Talbert originals.  All ten tracks were covers with a heavy emphasis on Cajun writers.  While I've always liked Talbert's big, rugged, soulful voice, those talents were frequently lost across 1970's "Houston Nickel Kicks."  To my ears the album highlights came in the form of the most soul oriented performances - tracks like 'Put It On Me', 'Sufferin City' and 'Lover To A Friend.'  You looked at Talbert and just had to wonder where did that voice come from?  Another highlight came in the album's most Sir Douglas sounding performance - a revamped version of Ray Charles' 'Hello Maryanne.'  Still, there was no "break thru" track here.  Nothing that was going to capture the attention of AM, or FM radio.  The fact Mercury did nothing to promote the LP (they didn't even float a single), certainly didn't help sales.

"Houston Nickel Kicks" track listing:

(side 1)

1.) I Can't Take Another Heartache (Cliff Thomas - Bob McRee - Ed Thomas) - 2:32 rating: *** stars

The first of three Cliff Thomas-Rob McRee-Ed Thomas compositions, 'I Can't Take Another Heartache' was a likeable, bluesy ballad that did a nice job of showcasing Talbert's rugged, soulful voice.  The chirping background singers were distracting, but the horn charts were tasty.  Overall this was a nice start to the album.

2.) Wish You Were Here (Huey P. Meaux) - 2:01 rating: ** stars

Penned by Meaux, 'Wish You Were Here' was a hardcore blues number.  Talbert's performance was nice enough and probably sounded a lot better in a live setting, but ultimately here wasn't anything particularly original here.  Nice sax solo.

3.) Summertime Love (Robert Thibodeaux) - 2:39  rating: *** stars

Oh wow, who thought it would be a good idea to trot out the heavy MOR strings?  The first of two Robert Thibodeaux compositions, the ballad 'Summertime Love' seemingly sought to cast Talbert as a broken down lounge singer.  Once again the vocals were impressive, but the melody and backing were enough to make you drowsy.

4.) Lonely Weekends (Charlie Rich) - 2:12  rating: **** stars

If you've ever heard the Charlie Rich original you're liable to find Talbert's "rocked up" version of 'Lonely Weekends' interesting.  Always loved the keyboard and trumpet powered arrangement.

5.) Put It On Me (Leo Louviere - Robert Thibodeaux) - 2:56  rating: *** stars

Talbert's vocals on the ballad 'Put It On Me' have always reminded me of a Ray Charles performance.  It's a pretty intense delivery, though undermined by the Mitch Miller-styled backing singers and the fact 80% of the song featured Talbert repeating the title time after time after time ...

(side 2)

1.) Sufferin City (Cliff Thomas - Bob McRee - Ed Thomas) - 2:08   rating: **** stars

'Sufferin City' was one of the album's most soul oriented performances.  To my ears that made it one of the standout performances.

2.) Your Tears Leave Me Cold (Mark Sherman) - 3:32   rating: *** stars

High praise, but I suspect Solomon Burke and Wilson Pickett would have approved of Talbert's heartbreaking delivery on the ballad 'Your Tears Leave Me Cold.'  

3.) Hello Maryanne (Ray Charles) - 2:40    rating: **** stars

Opening up with some jittery Hammond B-3 organ, Talbert's take on Ray Charles' 'Hello Maryanne' recalled something out of the classic Sir Douglas Quintet repertoire.  Sir Douglas fans will approve.

4.) Lover To A Friend (Cliff Thomas - Bob McRee - Ed Thomas) - 1:57   rating: *** stars

Another nice soul performance, when you looked at Talbert you just had to wonder how did a dumpy white guy get a voice like that?

5.) Nobody Loves Me (Nobody Cares) (Zeke Clements) - 2:28 rating: *** stars

The bluesy ballad 'Nobody Loves Me (Nobody Cares' again found Talbert trotting out his best Ray Charles vocals and keyboards.

© Scott R. Blackerby September, 2024