JOVM wishes hip-hop legend Chuck D a Happy 60th birthday.
JOVM celebrates Buddy Guy’s 84th birthday.
JOVM’s William Ruben Helms pulls out his nerd card — and wishes Rush’s Geddy Lee a Happy 67th birthday.
JOVM celebrates George Clinton’s 79th birthday.
JOVM pays tribute to Kool G. Rap on his 52nd birthday.
JOVM pays tribute to Chris Cornell — and Soundgarden — on what would have been his 56th birthday.
JOVM pays tribute to G.U.R.U. on what would have been his 59th birthday.
Over the past few years, I’ve spilled quite a bit of virtual ink covering the Toronto-born and-based singer/songwriter and JOVM Raffa Weyman, best known as RALPH. In 2015, Weyman quickly emerged into the national and international pop scene with her bittersweet, disco-inspired debut single “Trouble” in 2015. Weyman followed up with a series of attention-grabbing singles over the next handful of years that found the Canadian pop artist restlessly bouncing between different genres and styles, including the the country and western-tinged “Young Hearts Run Free” and the ambitious, radio friendly bop “Girl Next Door.”
After receiving an iHeartRadio’s Much Music Video Awards Best New Canadian Artist nomination, Weyman released her RALPH full-length debut, 2018’s A Good Girl. “I wrote ‘A Good Girl’ over the course of a year, maybe a little more…and a lot happened in that year,” Weyman explained in press notes at the time. “Because I use songwriting as a type of therapy and a way to explore my feelings, the songs naturally began to reflect everything that was happening in my life. Sometimes I was hurting, other times I was the one hurting someone else, and then to make it more complicated, sometimes I’d be both, like in the last song ‘Cereal’. The album name is a tongue in cheek way of reflecting upon the tracks and their stories, because they represent a multi-faceted character who is good hearted but makes mistakes – no one is ever one thing, we’re not good or bad and shouldn’t feel guilty about it. ”
The Toronto-based JOVM mainstay began this year with the launch of her own label, Rich Man Records, and the release the shimmering pop confection “Superbloom.” Continuing upon the momentum of “Superbloom,,” Weyman recently released a coquettish, house music-inspired cover of Jennifer Paige’s 1998 dance pop hit “Crush.” Centered around shimmering synth arpeggios and stuttering beats and an infectious hook, Weyman’s cover speeds up the pace a bit but while retaining the flirty and brash air of the original.
“I remember being a kid and being obsessed with this world of sweet female pop music. Mandy Moore, Robyn, The Cardigans. . . and ‘Crush’ by Jennifer Paige,” Weyman recalls i press notes. “I had a babysitter named Kelly who I idolized. She drove a blue convertible and chewed gum and would play ‘Crush’ in the car. The song made me feel cool and flirty and powerful, and years later, I wanted to try and recreate that feeling.”
Continuing her ongoing collaboration with Amika Cooper (a.k.a. blackpowerbarbie), the recently released, animated visual for “Crush” is an animated dose of feverish, Y2K-era nostalgia, as we see a pre-teen in her bedroom, drinking Ralph Crush soda, playing CDs on her boombox and flipping through magazines with her heroine, RALPH. The pre-teen has dreams of being as famous as her hero — if not more so. Throughout the video, there are brief moments of celestial imagery, which alludes to their previous collaboration together, “Gravity” while being a bit playful.
“The story behind the ‘Crush’ video is an ode to how magical it was to be a pre-teen in the early 2000s,” Amika Cooper explains. “I wanted to find a way to depict the kind of fever dream you would enter while sitting in your room, reading teen magazines and listening to your favorite pop stars and just being swept up in the fantasy of pop music. Listening to RALPH’s music always takes me back to that place, and I hoped this video would be the perfect opportunity to celebrate that.”
Throughout the course of this site’s almost ten year history, I’ve managed to spill quite a bit of virtual ink covering the legendary Chicago-born singer, actress, and civil rights activist Mavis Staples. Going into a deep dive into her career as a member of the Staple Singers and and a solo artist will be a bit gratuitous — but throughout her career, she has received commercial and critical success, as well as a proverbial boatload of accolades. Stapes has received eight Grammy Awards nominations with the Staple Singers, winning one — a Lifetime Achievement Grammy in 2004. She also received a Grammy nod for a collaboration with longtime friend Bob Dylan. And as a solo artist, she’s been nominated for five Grammys, winning two — Best Americana Album for 2010’s You Are Not Alone and a Best American Roots Performance for 2015’s ”See That My Grave Is Kept Clean.”
She also has been nominated for 11 Blues Music Awards, winning nine, including Album of the Year for 2004’s Have A Little Faith, which featured Song of the Year and album title track “Have A Little Faith.” She’s also won three Soul Blues Female Artist Awards — one in 2004 and back to back wins in 2017 and 2018. Staples was also inducted into Rock & Roll Hall of Fame as a member of The Staple Singers in 1999, was a Kennedy CenterHonoree in 2016 and inducted into the Blues Hall of Fame in 2017.
Today is the legendary vocalist’s 81st birthday and I personally wanted to wish the national treasure a very Happy Birthday. May there be at least another 80 more!
Over the past couple of years, I’ve spilled quite a bit of virtual ink covering the acclaimed Bristol, UK-based soul singer/songwriter and JOVM mainstay Hannah Williams. Williams can trace some of the origins of her music career to growing up in an extremely musical household: her father was a musician and minister. Interestingly, the acclaimed British singer/songwriter and soul artist learned how to read music before she could read words — and as the story goes, when she was a young girl, her mother introduced her to Motown and Bill Withers, which wound up transforming her life. As the story goes, Williams’ mother quickly recognized that Williams had a natural gift and encouraged her to join the church choir.
With “Work It Out,” off 2012’s full-length debut Hill of Feathers, Williams and her first backing band The Tastemakers, emerged into national and international soul circles with the track receiving attention across the blogosphere and airplay on radio stations across the States, Australia and the European Union. At one point “Work It Out” was one of the most downloaded songs in Greece with the video amassing over 1.5 million streams on YouTube.
Building upon a growing profile, Williams played sets across the European festival circuit, including stops at Shambala Festival, Valley Fest, Wilderness Festival, Cambridge Jazz Festival and Larmer Tree Festival, as well as some of Europe’s most renowned clubs, including Hamburg, Germany‘s Mojo; Manchester, UK’s Band on the Wall; and Camden, UK‘s Jazz Cafe with the likes of JOVM mainstays Sharon Jones and The Dap Kings, and Charles Bradley, as well as Cat Power.
Williams’ 2016 Michael Cotto-produced sophomore album Late Nights and Heartbreak was the first recorded output with her current backing band, the Bristol-based soul outfit, The Affirmations — currently, James Graham (organ, piano and Wurlitzer), Adam Holgate (guitar), Adam Newton (bass), Jai Widdowson-Jones (drums), Nicholas Malcolm (trumper), Liam Treasure (trombone), Victoria Klewin (baritone saxophone) and Hannah Nicholson (backing vocals) — and the album further established Williams’ growing profile across the international soul scene.
Over the course of the following year, Hannah Williams and The Affirmations received even greater international attention, after smash hit-making producer NO I.D. sampled the heart aching hook of “Late Nights and Heartbreak” for Jay-Z‘s “4:44.” “It was an incredible catalyst,” Williams says in press notes, “as a change in our collective career, and getting a global audience. Suddenly, there were millions of predominantly American hip-hop fans listening to my voice, going ‘Is this from the ’60s? Is she dead?’” Unsurprisingly, as a result of the attention they received from “4:44,” the rising soul act spent the better part of 2018 on the most extensive touring schedule of their collective careers, including stops at SummerStage, Rumsey Playfield, Central Park, Brooklyn Bowl, the Toronto Jazz Festival and across the European Union, where they expanded their fanbase.
With even more attention on them, Williams and company were determined to make the record of their lives. The end result was their Shawn Lee produced effort, last year’s 50 Foot Woman. The album finds the band accurately capturing the visceral power of their live show on wax — white further establishing a sound that generally draws from classic soul, psych soul and funk, with a subtly modern take.
Much like countless other bands across the world, Williams and her Affirmations have been enjoying connecting with their fans and followers in a whole new way during the past few months of COVID-19 imposed quarantines and lockdowns. Putting some of their musical direction in the hands of their loyal following for the first time, the band put a cover song choice to a vote — and the result was the challenge of covering Nirvana’s classic, smash-hit “Heart-Shaped Box.”
Naturally, because the acclaimed JOVM mainstays operate in a completely different genre and style than Nirvana, they craft a slow-burning, horn-driven take on the grunge rock classic that retains the brooding and uneasy quality of the original — while putting the song into a contemporary context. Of course, what the Hannah Williams and The Affirmations cover should remind the listener of a fundamental fact: great compositions and great songs can translate across different genres and styles if embraced and adapted with care, so that the intent and purpose of the original isn’t messed with or altered too much.
Through countless back and forth with their mixing engineer and rapid advancements to each of their home recording setups, the band managed to record and sculpt the song despite lockdown restrictions. And it was done in a way that sounds as though the band were all in the studio together.
“This release is an ode to the world and its struggles” the band says, “a nod to the past but also a move into the future, and most of all a tribute to all the amazing people who continue to not only support our band but also all the important messaging and movements we try to encourage through our art and influence.”