The Moseley Brown Band Lets the Music Do the Talking

By Chris Manson September 6, 2007 Issue

The Moseley Brown Band—Stevie Moseley on guitar and vocals, John Reimlie on drums, and Aubrey Packer on bass—formed about eight months ago from surviving members of the much-hyped Space Medicine and a lesser-known Pensacola outfit called Black Jack and the Repo. Moseley and Reimlie are Fort Walton Beach natives, while Packer’s musical history includes a two-year stint on cello with the Mississippi Symphony.

I was disappointed that Moseley Brown’s MySpace Friends consisted solely of the ubiquitous “Tom,” but one of the guys informs me that they have upgraded and relocated to www.myspace.com/chickenlipfunk. This page has logged over 1,000 visits and listens—now, that’s more like it. I’ve also spotted their stickers—crudely drawn but effective—plastered all over Okaloosa County. A friend’s 16-year-old daughter raved about them when she saw them in downtown Fort Walton Beach a few months ago.

The trio travels to Macon, Ga. this fall for recording sessions with a producer whose credits include the Marshall Tucker Band and Charlie Daniels. Before that, Moseley and Reimlie will join Space Medicine—apparently, they are The Band That Will Not Die--at Quincy’s Down on the Farm festival.

“This group is tighter,” Moseley says when I ask about the differences between the old and new bands. “We play funk and blues and a little bit of everything. Our main influence is the Allman Brothers Band.” Incidentally, the “Brown” part of the band’s name was inspired by the Godfather of Soul. Or maybe it’s a tribute to the British blues-rockers Savoy Brown. Moseley says it’s a little of both.

The trio opens a gig at the Destin Funky Blues Shack with a number that is both funky and bluesy. This is more than a few white boys getting their feet wet—they’re in it up to their ears and gasping for air. Moseley attacks his guitar like he’s going to snap its neck, forget about breaking a string or two. These guys keep busy, but every note belongs. The next song is slowed down and just as intense. As a singer, Moseley is 100 percent committed, and I’m convinced he’s going to keep getting better.

Whether he’s aware of it or not, Moseley throws in a little Dylanesque phrasing. His impeccable guitar playing appeals to fans of blues, southern rock, and metal. The rhythm section is tight enough—and loud enough—to appeal to the Youth of the Nation. You’ll want to hold your applause until the songs are completely finished, however, as the instrumental exits are as appealing as what they play during the bridges.

Another caffeinated stomper allows for some very imaginative drumming by Meinlie. I don’t recognize the song—Packer later tells me they do a lot of originals and some “obscure” covers from the likes of Shuggie Otis—but it benefits from Moseley’s hellfire singing. The devil’s music, indeed.

“I got a song called Stealin’ Watermelons,” Moseley announces next. “I hope you enjoy it.” Not only does he persuade me he’s been there, but I bet he can’t wait to go back there and do it again. Some boneheaded purists might gripe about some of the feedback, but the band makes up for the minor technical glitches with a surplus of energy and unpredictability. Moseley doesn’t employ a lot of guitar effects—he doesn’t need them—and knows when to step back and let the drummer and bassist get a little.

I find it impossible to sit still while the Moseley Brown Band is going full throttle. Based on what I hear tonight, that’s anytime they set foot on a stage. This weekend, the guys return to the Funky Blues Shack on a bill with Jacksonville’s Fusebox Funk. “We met them at Mossy Headz and they took us to Tallahassee,” Moseley says. “We played at the Gator Bar and rocked the place.” The band members don’t talk much during the set break, and I assume they’re just plain exhausted. But once the music starts up again, I’m sure they’ll have plenty to say.

Chris Recommends:
• Sam Baker: Pretty World (An Independent Release) The most heartbreaking music I’ve heard all year.
• Against Me!: New Wave (Sire), Rilo Kiley: Under the Blacklight (Warner) Two great indie groups make their major label debuts without sacrificing their souls.
• Stax 50th Anniversary Celebration (Stax/Concord Music Group) Fifty tracks from the great Memphis rhythm and blues label at an unusually low price. Isaac Hayes’ Shaft you know and love, but when was the last time you heard Son of Shaft by the Bar-Kays?
• Fountains of Wayne: Traffic and Weather (Virgin) Witty, melodic rock that should appeal to anyone who loves Squeeze’s Singles—45s and Under. Or the Beatles.

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