Out There Somewhere (2012)
“...Weaving the two main streams of Memphis music—rockabilly and Southern soul—the duo has created a hybrid sound that should transform them from local heroes to roots-rock stars.” – Geoffrey Himes, Washington Post
Recorded at Memphis’ legendary Royal Studio, this album is the last musical project involving Al Green’s famed producer, Willie Mitchell, prior to his untimely death nearly two years ago. Mitchell's son, Lawrence “Boo” Mitchell, co-produced the album.
“We’ve been making music for 11 years now, and we’re confident this is our best album yet,” said Deering. “Working with Willie was such a great learning experience, and it really shows in the bold new direction of our third release.”
The album features a variety of Memphis’ most well-known musicians, including Al Green’s notable Hi Rhythm section (guitarist Mabon “Teenie” Hodges, bassist Leroy Hodges, keyboardist Charles Hodges and drummer Howard Grimes), and Rick Steff, John C Stubblefield and Roy Berry of Lucero.
Break This Record (2007)
"A Les Paul and Mary Ford for our time..."
"There's the Rev Neil Down and then there's Deering and Down. In the Deering and Down configuration you still get The Rev Down but in a more supportive role much like a Les Paul and Mary Ford for our time. Deering and Down actively seek out the rich influences by going where many bands would not go if they were primarily looking for the broadest exposure instead of following their musical hearts. In this case it's Memphis, and they soak it up like cleanin' up the remnants of a big old plate of BBQ ribs with a piece of white bread. You won't want to miss a taste."
Coupe De Villa (2002)
author: Bernard J Weikert
COUPE DE VILLA
DEERING AND DOWN
(BURN BARREL RECORDS)
Deering And Down's album "Coupe De Villa" feature the Reverend's songwriting skills and musicianship paired with the vocals styling of young Lahna Deering from Vancouver, British Columbia.
"They make a great match and the music is infectious. This is pretty much a rock and roll record with twang and Deering's voice brings to mind such artists as The Motels and Concrete Blonde. Great cuts include "The Ride" and "Rocket It Around". Another cool song is the atmospheric "Prophets Of Doom". My favorite song on the album though, has to be "Sheet Rockin'" and it's a three chord masterpiece that can pretty much stand up to The Velvet Underground's "Sweet Jane" on any given day. Also, "Room 101" is a heart rendering song written about spousal abuse and death that'll surely make you think twice." -- Bernard J Weikert/GRITZ
author: Rick Skidmore
Some day, Van Morrison, Leonard Cohen, Tom Waits and Nick Cave may stroll into Sun Records and cut an intimate session to be dubbed The Next Million Dollar Quartet. While this dream is implausible, Rev. Neil Down's incredible barroom testament gives hope to the possibility.
When a Wrong Turns Right is gruff, big, smooth and emotive at a turn and will be passed around to thirsty souls like a community whiskey bottle behind a skid-row pawnshop. Conceived in Down's Unabomber-styled shack in Alaska and recorded in Ireland, the album contains surprisingly accessible tunes. The good Reverend knows the secrets of evangelists like the overlooked Preacher Jack: Convict, then offer redemption. Sordid tales such as "Whippin' Boy" and "Sometimes Paradise" are of the leaving and adulterous sort. Down implicates himself with lines like "He said I just met you/But you seem preoccupied/It's as if you was running from some kind of trouble/Or somebody else's bride." When beauty rears its ugly head on the altar call "She's Talking to You," Down's sentiment is understated, not sappy. The simple moment beats out any gushing love-song idealism with the couplet "When you said I was your best friend/The tide rose to my eyes." Once absolved, the Rev tends to the flock in "The Big Brother," attempting to keep the wolves away from a teasing teen sibling: "You'd better be a good sister/Or I could end up black and blue/I might lose a chiclet or two." Just as clever as the lyrics are the time changes in "She Lets Me Do" which borders on prog-rock before shuffling back home to its folk beginnings.
The natural warmth of Down's rough voice is comforting and unexpectedly complemented by the innocence of Lahna Deering's heavenly hosting, while sorrowful pedal steel and desperate electric blues drive the soul-searching hymns "Part of Your Heart" and "Saint Jack's Cadillac." Keyboardist James Delaney has Jimmy Swaggart on one shoulder and his cousin Jerry Lee on the other as gospel organ and righteous piano give way to boogie-woogie backsliding. Prolific Irish guitarist Henry McCullough plays -- or downplays -- with more subtlety than his extensive background would imply. McCullough's biography is almost a credibility risk because of the high-profile performers with whom he's been associated, from Pink Floyd to Paul McCartney. The guitar leads fit the songs tastefully without any showboating. His country breakdowns on "Xalapa Linda" are classic Rick Nelson stuff, applied only where needed, and the smart conservation of notes leaves a desire for more.
Overall, the arrangements and the vocal phrasings on Down's latest are spacious, like classic Van Morrison, with overlapping instrumentation and rich sound separation. Like a drunk in a midnight choir, When a Wrong Turns Right makes a fellow want to belly up to the altar and receive the Alcoholy Spirit. westword.com | originally published: December 4, 2003
author: Heather Lovelorn - Music Prospectors LLC
I have been to the mountaintop! Rev Down, Lahna Deering and Henry McCullough and Company took me there. This CD is incredible. A masterwork for sure. It's got it all. Tension -release - incredible musicianship. This is some of the best work any of these folks have done and that's saying a whole lot - especially as it applies to Henry McCullough - who has backed McCartney, Cocker and other legends of Rock and Roll.