New Video: The Rollicking and Playful New Video for Reed Turner’s “I Got Love”

With the release of his 2013 full-length debut effort to critical acclaim, Ghosts In The AtticAustin, TX-based indie folk singer/songwriter Reed Turner exploded on to the national map. As a result of the attention on the album, Turner wound up sharing stages with an impressive list of acclaimed artists including Gary Clark, Jr.Mark BroussardWill Hoge and Jessica Lea Mayfield, among many others — and the album wound up on several “Best Of” lists that year.

After a year of solitude marked by health issues, Turner turned his backyard shed into a makeshift workspace and studio, compelled to create rather than wallow. Along with his backing band, Turner and company wrote and recorded material that would wind up comprising his forthcoming Native Tongue EP live to tape on an old Studer A827, much like  how they did during the Sun Records days. Native Tongue‘s first single and EP opening track “I Got Love” possesses a bluesy, shuffling stomp and swing reminiscent of Johnny CashMuddy Waters and Howlin’ Wolf  — in particular I think of Johnny Cash’s “Folsom Prison Blues,” and “Get Rhythm,” Howlin’ Wolf’s “Poor Boy (The London Sessions version),” Muddy Waters’ “Mean Ol’ Frisco Blues,” and Bo Diddley‘s “Who Do You Love” (although George Thorogood‘s version is infinitely better). And much like those songs, it feels as though it could have been recorded around that period, as it possesses the looseness of a band playing at a dirty whiskey bar or an old fashioned honky tonk. But interestingly enough the song balances an old-timey sweetness beneath the stomp and braggadocio; it’s the sort of song you’d can picture couples line dancing, swing dancing or blues dancing late into the night.

The recently released music video features Turner and guest vocalist Phoebe Hunt waking up and starting their day, getting into various badassery, including the duo drinking and flirting at the bar where they’d later perform the song in front of a rollicking and rowdy crowd.  The video manages to channel the technicolor-era brightness of the late 50s and early 60s — but with a playful, whimsical raucousness.