![]() Written and recorded during the pandemic, Rateliff reflects on this challenging, uncertain time in the set’s lyrical themes. Since both sides of Rateliff were now revealed, the next phase was to combine the two on the long-awaited third group effort, The Future. The ruminative collection was met with far greater acclaim than his pre-Sweats work from a newfound audience, perhaps not familiar with his older material. It was a courageous, even audacious move, and it worked. The result was 2020’s return to his reflective roots, eschewing the band’s name, horns and rugged soul for the meditative And It’s Still Alright. But Rateliff was intent on featuring his more introspective side especially after a painful divorce and the death of his first producer Richard Swift. It was a major transformation from the pensive, largely acoustic work he had previously chronicled, both with earlier outfit The Wheel and solo on tiny indie labels.Ī rollicking 2017 live album and the appropriately titled Tearing at the Seams studio recording followed, solidifying the Night Sweats’ earthy attack. That explosive, gold-certified record introduced the gruff-voiced singer/songwriter to a worldwide audience, eager to support his soul, R&B and rock-laced sound. Nathaniel Rateliff & The Night Sweats are Nathaniel Rateliff (vocals, guitar), Joseph Pope III (bass), Meese (drums, percussion, keys), Luke Mossman (guitar), Mark Shusterman (organ, keys), Andreas Wild (saxophone), Daniel Hardaway (trumpet) and Jeff Dazey (saxophone).Only the most fervent Americana fans were aware of Nathaniel Rateliff before his 2015 debut with his seven-piece band the Night Sweats. Backing vocals by Jenny Lewis, Jess Wolfe and Amelia Meath (Sylvan Esso). “Love Don’t” is full of energy and passion, pure Rateliff, with his signature shrieks and a burn-up-the-dance-floor Motown beat.Īdditional production on The Future by Elijah Thompson (Father John Misty, Richard Swift). “Oh, I” has a vintage reggae/mod/ska sound, reminiscent of The Specials or the English Beat. Things get a little funky in the slow grooving “Baby I Got Your Number,” and then “So Put Out,” has a great funky horn-backed beat “Something Ain’t Right,” has a retro 50-ish sound, followed by “Love Me Till I’m Gone,” another beautiful crooner. In “Face Down In The Moment,” you can feel the ache in its soulful melody and Rateliff’s beautiful vocals as he sings, “Face Down in the moment, waiting to let go.” “Survivor,” has a “Rock the Casbah” sounding beat, with urgent horns. “Is the future open, is the future seen?” Rateliff croons in the opening title track, a catchy Dylan-esque horn-backed ballad that will have you grooving along. Just as diverse is Rateliff’s rich voice, which can both comfort and soothe and urge you out of your seat. (Rateliff, Patrick Meese (The Night Sweats) and James Barone (Beach House), the trio behind Rateliff’s solo album, And It’s Still Alright, released in 2020.įrom gospel-sounding ballads to a symphonic Motown sound with horns, the diversity of the songs on The Future is wide ranging. Recorded at Broken Creek Studio, Rateliff’s studio outside Denver, The Future was produced by Bradley Cook (Bon Iver, Kevin Morby, The War on Drugs) and R.M.B. ![]() ![]() 5, on Stax Records, covers a lot of ground in its 11 songs - and sometimes all in one song. Nathaniel Rateliff & the Night Sweats’ 3rd studio album, The Future, released Nov. Nathaniel Rateliff & the Night Sweats - The Future
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