Fanatic is a music marketing company established by Josh Bloom in 1997 to build fan-to-fan connections between artists and the media. For 25 years, Fanatic has continued to help launch careers through the strategic advocacy of creative talent.
Thursday, February 22, 2024
With 14-piece band The Knockdown Dragout, Chris J Norwood takes “headfirst dive into horn-laden, Memphis-style R&B” (Dallas Morning News).
“Lyle Lovett has his big band. Now Chris J Norwood has
his,” says Twangville of band’s debut self-titled album, out now. Hear “The Cheap Seats” here.
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Chris J Norwood as photographed by Joseph Brewster
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Chris J
Norwood & The Knockdown Dragout |
In The Press
“My favorite
memory is being at the Kenny Rogers perfect game.”
“It’s another classic soul groove on this one,” says Chris J Norwood of “The Cheap Seats,” taken from the just-released album The
Knockdown Dragout by his band of the same name. I wouldn’t consider
myself an avid sports fan, though I do follow and enjoy the local Dallas teams.
Some of my fondest memories as a kid were going to
Rangers games and sitting in up in the nosebleeds. My favorite memory is being
at the Kenny Rogers perfect game. I
thought that lyrically it was a fun metaphor to see through and play with. I’m
particularly proud of the ‘Casey At The
Bat’ reference in the bridge and another incredible sax solo by Preston Lewis!”
If the photographic evidence accompanying The
Knockdown Dragout (Gastonwood
Music, Out Now) is any
indication, then Chris J Norwood is
a beaten man.
Beaten, maybe… But not out!
As Norwood
sings on “The Knockdown Dragout” —
the ensemble, album, and first single all share the same name — he is a
fighter:
I know it don’t look good
They got me up against the ropes
I ain’t no light weight kid
I got the fight, the will, the hope
The “will” and “hope” part comes in as the
Dallas-based songwriter — and now bandleader, commanding a Stax-inspired ensemble cutting tracks live on the studio floor in
the same building where Willie Nelson
made Red
Headed Stranger — leaves behind his acoustic guitar to make the album
of his dreams.
“I have wanted to make this record for a long time,” Norwood says about a passion so strong,
he parted ways with his record label to be able to see his vision through. “If
you were to come over on a Saturday afternoon, Otis Redding is what is playing on the stereo.”
The
Knockdown Dragout cover the Redding classic “Fa Fa Fa Fa Fa (Sad Song)” in a joyous rendition that sits
perfectly alongside Norwood’s
originals.
“I had to
include an Otis cover,” Norwood explains. You can’t help but
feel good, and that’s what I love about soul music. Even the sad songs make you
dance.”
Norwood had become tired of sadness.
“I’m disillusioned with the ‘sad bastard’ scene of
singer-songwriters that I found myself a part of,” he admits. After releasing
two records that reckoned with darkness and personal tragedy, Norwood wanted to make an album that
was “just fun.”
A “knockdown dragout” is a phrase I used to hear my
mother use,” he explains of the album’s statement of purpose, which also
addresses his relationship with the music industry. “It’s essentially a fight
between two people that is particularly bad.” Norwood’s decision to leave his label to make this album was
actually amicable, but even civil closure smarts.
The same goes for Norwood’s
surprise genre switch-up.
“I wanted to write some songs that I could actually
sing to Carrie and dance in the
kitchen to,” he says,alluding to one of
the album’s standout tracks, “Dancing In
The Kitchen,” a love song to Norwood’s
wife.
“Finally! Songs that are about me!” Carrie Norwood, who also
appears on the record as one-half of the background vocal duo, The Knockouts, jokes.
“Being
a Knockout comes with attitude and
sass,” she says. “The world is pretty crazy right now, but there is still love
and goodness to sing about.”
After listening to the celebratory songs on The
Knockdown Dragout, Norwood’s “will” and “hope” win this bout
by unanimous decision.
The Knockdown Dragout by Chris J
Norwood & The Knockdown Dragout is out now via Gastonwood
Music.
Chris J Norwood is
available for interviews. Contact Josh Bloom
at Fanatic for more information.
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Chris J Norwood & The Knockdown Dragout | “Dancing In The Kitchen”
Watch the video for “Dancing In The Kitchen” via Adobe & Teardropshere or at links above!
“You can hear Norwood channel that intensity in his performance, bringing a punk rock lineage to his R&B. ‘Dancing in the Kitchen’ is a reprieve on an album that chronicles Norwood’s victories and defeats, but we get the sense of a determined drive to keep pushing through it all.” — Adobe & Teardrops
“‘Dancing In The Kitchen’ is a love song for my wife Carrie that is true to where we are at in our lives. We have been married for over a decade, and we have small kids, so if there is going to be romance, we have to make it happen. Dancing in our little tiny kitchen after we put the kids to bed and have done the dishes is as good a place as any for romance!
“I wanted the video to feel like a fly on the wall. The video is about the most accurate portrait of our love for each other as possible. The other part of the video, where you see me playing into the spotlights, is a nod to the Otis Redding video ‘I've Been Loving You’ from the Monterey Pop Festival 1967.” — Chris J Norwood
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Chris J Norwood & The Knockdown Dragout | “The Knockdown Dragout”
See the video for the eponymous cut “The Knockdown Dragout” at Americana Highways, listen viaGlide Magazine (or use the links above!)
“Swaggery and enjoyable... Bluesy glory characterizes this song from the start. Playing together in the woodsy studio helps bolster this song’s Stax-style intent.” — Americana Highways
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About The Video | “The Knockdown Dragout”
“We had a lot of fun and that is something I wanted to showcase with the music video,” Norwood says. “When I first started dreaming up this project, it was important to record in the same way my favorite Stax and Motown records were recorded. All the musicians playing together in a great sounding room with vintage gear.
“Audio Dallas immediately came to mind and was the perfect studio for us. It’s got such a storied history, with so many great records made there. It looks virtually the same as it did in the 70s.
“In a lot of ways the studio was like another member of the band. There’s a reason why records that are made this way sound the way they do. There’s a joy and a camaraderie and a vibe when you make music with your friends.” — Chris J Norwood
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Chris J Norwood & The Knockdown Dragout | “Love Me Back To Life”
Listen to “Love Me Back To Life” via Twangvillehere or at link above!
“This song started with the drum beat, which is essentially the groove from ‘You Can’t Hurry Love’ — such an iconic old soul groove. Lyrically, I wanted to write a song about how amazing my wife is! Previously, I’d spent too many albums writing about heartache, and I wanted this one to reflect where I’m currently with the love of my life. One of the things I love about soul music lyrically is that not everything has to be so heavy-handed.
“It’s not that the lyrics don’t matter; it’s just that they’re a part of the greater aim of giving you that good soul feeling. One of my favorite parts of this song is the amazing string playing (arranged by my friend Nick Seeley). The strings still give me goosebumps when they come in on the second verse. And that sax solo by the excellent Preston Lewis on the outro is phenomenal!
“Using Motown as a guide for this track, I knew I wanted to make it big and sweeping. Those early Motown hits are so expansive with the band, background vocals, horns, percussion, and strings. And it’s almost reminiscent of Phil Spector’s ‘Wall Of Sound’ approach.
“This track has 14 musicians on it. I had so much fun building the whole arrangement. We started with the rhythm section (bass, drums, percussion, guitar, and keys) playing together in the room. Then, I overdubbed the lead vocals and then the backing vocals with that call and response. I then added the horn with the amazing sax solo on the outro. Then, finally, the strings. But everything fits together. We were very intentional about each layer complementing and supporting the whole groove.” — Chris J Norwood
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