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John Paul White Early Show with Caleb Elliot and Anne Elise Hastings
Dyson House Listening Room
Baton Rouge, LA
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John Paul White Early Show with Caleb Elliot and Anne Elise Hastings

Its a small, complicated word with a tangle of meanings.

Its the title of John Paul Whites new album, his first in nearly a decade, a remarkably and assuredly diverse collection spanning plaintive folk balladry, swampy southern rock, lonesome campfire songs, and dark acoustic pop. Gothic and ambitious, with a rustic, lived-in sound, its a meditation on love curdling into its opposite, on recrimination defining relationships, on hope finally filtering through doubt.

Beulah is also a White family nickname. Its a term of endearment around our house, White explains, like you would call someone Honey. My dad used to call my little sister Beulah, and I call my daughter Beulah. Its something Ive always been around.

Beulah is also something much loftier. For the poet and painter William Blake, Beulah was a place deep in the collective spiritual unconscious.

I wont pretend to be the smartest guy in the world, says White, but I dig a lot of what hes written. Beulah was a place you could go in your dreams. You could go there in meditation, to relax and heal and center yourself. It wasnt a place you could stay, but you came back to the world in a better state.

And perhaps the music on this album originated in that pleasant lovely Shadow where no dispute can come. According to White, the songs came to him unbiddenand not entirely welcome. When these songs started popping into my head, I had been home for a while and I was perfectly happy. I wasnt looking for songs. I didnt know whether any would pop back in my head again, and I was honestly okay with that. Im a very happy father and husband, and I love where I live. I love working with artists for a label that I think is doing good work.

Far from the grind and glamour of Nashvillewhere he worked for years as a working songwriter before stepping into the spotlight himselfWhite settled in his hometown of Muscle Shoals, Alabama, a wellspring of gritty Southern rock and soul since the 1960s. Together with Alabama Shakes keyboard player Ben Tanner and Shoals native Will Trapp, he founded and runs Single Lock Records, a local indie label that has released records by some of the Yellowhammer States finest, including Dylan LeBlanc, St. Paul & the Broken Bones, and legendary songwriter and keyboard player Donnie Fritts. The label is based in a small ranch house a stones throw from Whites own home, which would come in handy when those songs started invading his head.

Honestly, I tried to avoid them, but then I realized the only way I was going to get rid of them was if I wrote them down. I got my phone out and Id sing these little bits of melody, then put it away and move on. But eventually I got to a place where it was a roar in my head, and that pissed me off. Due to his experiences as a gun-for-hire in Nashville, White was reluctant to romanticize the creative process, to turn it into a spiritual pursuit. Then one day I told my wife I think Im going to go write a song. She was as surprised as I was. I went and wrote probably eight songs in three days. It was like turning on a faucet.

Most artists would kill for such a downpour, but White was wary of the consequences. He knew that writing songs would lead to recording them, which would result in releasing them, and that means touring and leaving home for weeks at a time. As soon as I write a song, I start thinking what other people might think of it. Ive talked to friends about this: What is it about us that makes us do that? Why cant I just sit on my back porch and sing these songs out into the ether? I dont have an answer for it yet, but I think its just part of who I am. I need that reaction. I need to feel like Im moving someone in a good way or in a bad way. I need to feel like theres a connection.

White threw himself into the project, no longer the reluctant songwriter but a craftsman determined to make the best album possibleto do these songs justice. He cut several songs at the renowned FAME Studios in his hometown, where Aretha Franklin, Wilson Pickett, the Allmans, the Osmonds, Bobbie Gentry, Arthur Conley, and Clarence Carter recorded some of their most popular hits.

One product of those sessions is Whats So, which introduces itself by way of a fire-and- brimstone riff, as heavy as a guilty consciencethe kind of riff you wouldnt be surprised to hear on a Sabbath album. But Whites vocals are gritty and soulful, a product of the Shoals, almost preacherly as he sings about earthly and eternal damnation: Sell your damn soul or get right with the man, keep treading water as long as you can, he exhorts the listener. But before you do, you must understand that you dont get above your raisin. Its the heaviest moment on the record, perhaps the darkest in Whites career.

At the other end of the spectrum is The Martyr, one of the catchiest tunes White has ever penned. The spryness of the melody imagines Elliott Smith wandering the banks of the Tennessee River, yet the song is shot through with a pervasive melancholy as White wrestles with his own demons. Keep falling on your sword, sink down a little more, he sings over a dexterous acoustic guitar theme. This is not, however, a song about some unnamed person, but rather a pained self-diagnosis: These are the wounds that I will not let heal, the ones that I deserve and seem so real. White knows hes playing the martyr, but he leaves the song hauntingly open-ended, as though he isnt sure what to do with this epiphany beyond putting it in a song.

The rest of Beulah was recorded in the Single Lock offices/studio near Whites home. I can be more relaxed about the process. We can all just sit there and talk about records or baseball without feeling like someones standing over our shoulders. Thats a big deal to me, not to feel pressured. And Im only about twenty yards away from home, so I can walk over and throw a baseball with my kids or make dinner with my wife.

Some of the quieterbut no less intensesongs on Beulah were created in that environment, including the ominously erotic opener Black Leaf and the Southern gothic love song Make You Cry. As he worked, a distinctive and intriguing aesthetic began to grow clearer and clearer, one based in austere arrangements and plaintive moods. These are songs with empty spaces in them, dark corners that could hold ghosts or worse. There were certain moments when Ben and I would finish up a song, listen back to it, and think how in the world did we get here. But thats just what the songs ask for. These are the sounds in my head. This is the sound of me thinking and living and breathing and doing.

Once White had everything assembled and sequenced, it was time to give the album a title, to wrap everything up for the listener. Beulah stucknot only because of family history or Blake, but because White realized that making music was his own trip to Beulah. If you had to sum up what music is for most people in this world, its that. Its that escape. Its that refuge. You go there and you come back and you use that to help you with your life. You always have that as a place to go.


Dyson House Listening Room (View)
7575 Jefferson Hwy.
Baton Rouge, LA 70809
United States


Music > Americana
Music > Folk
Music > Indie

Kid Friendly: Yes!
Dog Friendly: No
Non-Smoking: Yes!
Wheelchair Accessible: Yes!


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