Bette Smith

Bette Smith Publicity Still3 (photo by Shervin Lainez)

Born and raised in Bedford-Stuyvesant,   Brooklyn, Bette Smith reconnected
with her musical roots in Memphis and   Mississippi – and fulfilled a promise to
her late brother in the process. Recording her   debut full-length album in
Mississippi brought her to the roots of the   gospel she sang in the church and the
soul music she heard on the block on hot summer nights growing up on the
corner of Nostrand and Fulton. The powerful ‘Jetlagger’ comes out September
29 on Big Legal Mess, a Fat Possum subsidiary. “The south came to me and
grabbed me and pulled me down there. The southern migration came up and
got me. My neighbors in Bed-Stuy influenced me,” she says.

She recalls that Bed-Stuy, Brooklyn was a very different place when she was
growing up. “It was rough back then!,” she exclaims. “There was lots of gang
activity. One gang came after my brother and my dad came out with a lead pipe
to protect him. It was really hairy. My older brother Junior protected me from
all of that. He would intimidate all of the other guys.”

She owes even more to Junior. Several years ago, on his deathbed suffering
from kidney failure, he made her promise not to give up on a career as a singer.
Those last days of his, she sang while he tapped his foot on the hospital bed at
Kings County Hospital. “I didn’t know how else to comfort him,” she recalls.
He told her, “I want you to sing; don’t give up” and she’s kept that promise,
playing gigs from One Penn Plaza in New York to the Boogie Woogie Festival
in Brussels, Belgium, always wearing yellow on stage to honor him. “It’s all for
Junior now,” she affirms.

Jimbo Mathus produced the album at Water Valley’s Dial Back Sound and sent
roughs to Bruce Watson, who swiftly signed Smith on for a full-length. He’s
become a secret weapon for Fat Possum and Big Legal Mess Records; in
addition to being a solo artist and a founding member of the Squirrel Nut
Zippers, Mathus has also produced Shinyribs, Luther Dickinson, The
Seratones, and played on records by Valerie June, Buddy Guy, and Elvis
Costello. “You exceeded all expectations,” Mathus told her.

The trip was also Smith’s first to the deep south. She recalls, “It took me out of
my comfort zone. I got lost in a swamp one time and kind of freaked out! I’m a
quintessential city girl.”

Smith beams when talking about the sessions. “It was really wonderful.
Everything was recorded live. I felt like I was Tina Turner and Etta James. I do
well when I’m performing. It was a real performance that had never been
captured before.” Anyone who’s ever seen her live knows how absorbed she

gets on stage and these sessions put her in that same place. She continues,
“There’s New York aggressiveness and passion. I get to a fever pitch. I’m
gone. I’m not even there anymore. Something else takes over.”

Mathus dug deep into the Mississippi and Memphis soul bags, unearthing
“Flying Sweet Angel of Joy” by Famous L. Renfroe, a song with which Smith
particularly connected. “I believe in guardian angels. Jimbo picked up on that. I
feel that I was giving voice for Famous L. because he never really got a
chance.” Mathus also picked Isaac Hayes’ “Do Your Thing,” which simmers
with Memphis heat.

The raucous soul-rock of “Man Child,” the spare funk of “Shackles & Chains,”
and Blaxsploitation soundtrack feel of “Durty Hustlin’” were all written or co-
written by Mathus specifically for Smith. She gets rough, wrestling the title
track to the ground; the song captures the late nights and lack of sleep inherent
in a musician’s life. First-call Memphis horn players Marc Franklin (Robert
Cray, Lucero) and Kirk Smothers (Don Bryant, Melissa Etheridge, Cyndi
Lauper, Buddy Guy) were summoned to complete the album’s sound.

‘Jetlagger’s’ closer, the Staples Singers’ “City In the Sky,” connected her back
to Bed-Stuy. She remembers, “My father was a church choir director. I was
singing since I was five years old. I take it to church. I just break out, start
speaking in tongues.” She also heard gospel around the house every weekend.
“My grandmother listened to nothing but gospel,” she recalls, citing Mahalia
Jackson and Reverend James Cleveland. “Every Sunday morning, she would
get up and put on these records while dressing and praising the Lord. The
furniture was plastic-covered. After lunch, it was more gospel music,” she says.
Bed-Stuy block parties would also have revivalist-style gospel acts. “I’m
steeped in it!,” she adds. Though a Seventh Day Adventist as a child, Smith is
now a member of the Church of God in Christ.

Several years ago while singing in Los Angeles, Bette’s voice drew the
attention of another artist who came up in the church – Ray Charles, who
invited her to collaborate with him shortly before his passing. “It was the first
inkling that I had greatness in me,” she says.

Reviewers have noticed, too. On the strength of a 2016 EP, Bitch Magazine
compared her to Lauren Hill and Erykah Badu, praising her “stunning voice
[and] powerful but pliable tone” saying that her songs “cut deep” and calling
her music “remarkable.” Bitch continues, “[Smith’s] individuality keeps her

story in her own hands and gives her firm ground from which to leap into her
career. And with that voice, she can aim high.”

Soul Tracks said simply, “Steaming… That voice though!”

No Depression said, “Show stopper… Finally, a woman with the blues power
of both Big Mama Thornton and Bessie Smith, the smooth, classiness of
jazz/blues singer Joe Williams, the dynamics of Koko Taylor and the energy of
Janis Joplin all wrapped up tight in a relevant Billie Holiday look… No lame,
whiney female vocals here. It’s all confidence and power. The sexy slur and
slide of Bette’s voice, her roll of syllables, the phrasing and intonation all on
target, all polished with gratifying verve. But the true sting is in Bette’s ability
to know exactly how to interpret a song — her songs, or anyone else’s.”

She already can’t wait for her next trip down south, when she’s going to meet
soul legends Al Green and Don Bryant. She says, “It feels like the circle is
coming around. The gospel roots remain the same. This is timeless music –
soul, rhythm and blues – Mississippi is the birthplace. When you’re down
there, you feel something.”