JOVM celebrates Allen Toussaint on what would have been his 83rd birthday.
JOVM belatedly celebrates the 93rd anniversary of Bo Diddley’s birth.
JOVM celebrates what would have been Jimi Hendrix’s 79th birthday.
The New Mastersounds — currently, Eddie Roberts (guitar, production), Simon Allen (drums), Pete Stand (bass) and Joe Tatton (keys) — can trace their origins back to the late 1990s: Roberts was promoting a club night in his native Leeds called The Cooker. When The Cooker moved into a new venue with a second floor in 1999, there was both the space and opportunity to put a live band together to compliment the night’s DJ sets.
Coincidentally, Roberts and Allen had previously played together in the similarly named The Mastersounds, an act with a completely different bassist and without a keyboardist. Because of the intimate nature of the Lejeds scene, Roberts and Allen met and recruited Pete Hand and Bob Birch (Hammond) to join what would become The New Mastersounds. Since the release of two limited edition boogaloo leaning 7 inch singles back in 2000, the Leeds-based outfit has released 24 more 7 inch singles, 13 studio albums, three live albums, a remix album — and three compilations released in the UK, Japan and The States. And the band has done that while going through a major lineup change with grizzled Leeds scene veteran Joe Tatton replacing Bob Birch on keys and organ.
The band and its individual members have collaborated with an eclectic and diverse array of musicians, DJs and producers throughout their history, including Lou Donaldson, Corinne Bailey Rae, Quantic, Carleen Anderson, Keb Darge, Kenny Dope, Mr. Scruff, LSK, Lack of Afro, Page McConnell, Grace Potter,Karl Denson, Melvin Sparks, Idris Muhammad, Fred Wesley, Pee-Wee Ellis, Maceo Parker, Bernard Purdie, George Porter, Jr., Zigaboo Modeliste, Art Neville and Ernest Ranglin.
Over the past few months, the members of The New Mastersounds have been collaborating with a number of incredible vocalists including Josh Hoyer and Soul Colossal‘s Josh Hoyer and Ojai-born, Long Beach-based vocalist Adryon de León. The acclaimed soul and funk act’s latest single sees them collaborating with Macon, GA-born, Atlanta-based singer/songwriter and musician Lamar Williams, Jr.
Lamar Williams, Jr.’s father, Lamar played bass with The Allman Brothers and Sea Level, and as a result, Williams grew up in a very musical home: the younger Williams can trace the origins of his own music career to his childhood, singing in church and at school functions. Although the younger Williams lost his father at a very young age, he can say that he started his career independently with the help of friends and advisors throughout the years.
Williams landed his first record deal in Miami, after winning many talent shows and working with a number of sings of bands in the early 90s. He spent the next handful of years working with more bands and artists and various recording opportunities. During that period, Williams — through those various projects — shared stages with Little Richard, 112, Jagged Edge and a lengthy list of others.
By 2000, Williams began working with then-Macon-based act Revival. After moving the band to Athens, Williams began opening with Demun Jones — for Rehab in 2007. This lead to years’ long ongoing collaboration with the band that included played with, opening for and recording with the band while working on and developing his own sound and solo projects. Along with that, Williams has been extremely busy: Following in his father’s footsteps, he has sat in with The Allman Brothers Band and with Oteil and Friends. He’s the lead singer of Les Brers. And he’s currently working on a solo album with Mike Hartnett.
The collaboration can trace its origins back to when New Mastersounds bandleader and Color Red founder Eddie Roberts met Lamar Williams, Jr. at a Denver-based benefit show in early 2018 coordinated by The Gregg Allman Band‘s Peter Levin. As the story goes, Roberts and Willliams instantly connected. So when The New Mastersounds were touring through Atlanta, Williams joined the band for three songs, which lead to a deeper musical relationship.
Recorded in November 2018, Williams’ and The New Mastersounds’ latest single is a testament to their musical bond. Featuring some gorgeous yet hypnotic pedal steel by John Macy, “Trouble” is a slow-burning, bourbon and regret tinged blues with gently padded drumming, funky organ blasts and a strutting groove. And over that soulful arrangement, Williams contributes assured yet silky smooth vocals. While sonically hinting at What’s Going On era Marvin Gaye and B.B. King‘s “The Thrill Is Gone,” the song manages to be centered around a socially-charged, conscious message: “In general, the song inspiration came from how I think people perceive each other without giving love a chance for them to learn and lend their abilities to each unique situation,” Williams explains.
JOVM celebrates what would have been John Lee Hooker’s 104th birthday.
JOVM celebrates Buddy Guy’s 85th birthday.
JOVM celebrates the life and music of ZZ Top’s Dusty Hill.
In 2004, Chicago-based producer David Vandenberg brought the Leeds-based funk act The New Mastersounds to the States as an opener for Greyboy All-Stars for what would be the acclaimed British act’s first Stateside tour. And as the story goes, Vandenberg took The New Mastersounds’ guitarist, bandleader and producer Eddie Roberts out to Rosa’s, a legendary blues club on Chicago’s West Side on Roberts’ first night in town to catch local blues legend Omar Coleman, who had been playing Rosa’s for decades. Interestingly, almost two decades later, Roberts would wind up producing Coleman’s forthcoming album Eddie Roberts Presents Omar Coleman: Strange Times.
Slated for release this summer through Roberts’ own Color Red Music, the album’s title is an ode to The New Mastersounds 2001 debut, Keb Darge Presents: The New Mastersounds — and in many ways Coleman’s album finds Roberts, an acclaimed musician, bandleader and producer taking on the role of curator and influencer, championing and supporting artists he believes should be heard and love, essentially paying Keb Darge’s support forward to a worthy act.
Earlier this year, I wrote about album title track “Strange Times,” a strutting and gritty synthesis of The Payback-era James Brown funk and Chicago blues featuring a looping bluesy guitar line, bursts of shimmering strings and a funky bass line that would Bootsy Collins‘ proud paired with Coleman’s powerhouse, soulful vocals. Lyrically, the song’s origins can be traced to a series of conversations Coleman had with Roberts during the album’s recording sessions about the bizarre, infuriating and tragic state of America during the height of the COVID-19 pandemic. Unsurprisingly, the exchange between the two kept turning back to the fact that we were all living in very strange times. Coleman took that and ran with it, immediately scribbling out incisive and fiery lyrics that accurately describe life in our very moment with the song talking about the abject poverty, desperation and uncertainty that hardworking and decent folks everywhere face. As the old saying the rich get richer while the poor get sicker.
“Chicago,” Strange Times‘ latest single is a fiery song that hews to Chicago’s beloved blues tradition while brashly refusing to be pigeonholed. Much like its predecessor, it’s a bit of synthesis of Muddy Waters and Howlin’ Wolf-like blues and James Brown-era soul featuring an enormous horn line, a blazing harmonica solo and a strutting grove paired with Coleman’s soulful wailing. Starting with Coleman proudly announcing that he’s from Chicago’s West Side, the song talks about the things I love about that city: its a town inhabited by tough, hardworking people, who like countless people across the world are struggling to survive to keep their dignity intact, despite the despair, shittiness and inequity and inequality thrown in their path.
For the album, Roberts recruited an accomplished backing band that features himself, Ghost Light’s Dan Africano (bass), Matador! Soul Sounds‘ Chris Spies (keys and organ), Dragondeer’s Carl Sorenson (drums), Lettuce‘s Eric “Benny” Bloom (trumpet), Michal Menert‘s Nick Gerlach (sax), Adrienne Short (viola) and Kari Clifton (violin) to help him with a sonic approach that would combine classic blues with funkier blues. And to capture the rawness and immediacy of the material, they recorded it straight to tape on Color Red Studios’ Tascam 388. “I hear Omar’s voice as a cross between Muddy Waters and Charles Bradley,” Roberts says. “I tried to reflect those qualities in music approach and songwriting as well as the way we recorded the album and built the instrumentation of the tracks.
With the release of their first four albums, The Murlocs — King Gizzard and the Lizard Wizard’s Ambrose Kenny-Smith and Cook Craig with Cal Shortal, Matt Mlach and Tim Karmouche — have released four albums of fuzzy and distorted psychedelic blues. which they’ve supported as an opener for the likes of Gary Clark, Jr., Mac DeMarco, Ty Segall, Thee Oh Sees, Pixies, Stephen Malkmus and The Jicks, Wavves and of course, Kenny-Smith’s and Craig’s primary gig, King Gizzard and the Lizard Wizard — and as a headlining act, as well.
The Aussie psych blues outfit’s fifth album. the Tim Dunn-produced Bittersweet Demons is slated for a June 25, 2021 release through their longtime label home ATO Records. Recorded at Button Pushers Studio, the 11-song album finds the band lovingly reflecting on the people, who have left a profound imprint on their lives, the saviors, the hell raisers and other assorted mystifying and complex characters. Arguably, the most personal and complex batch of material they’ve written to date, the album reportedly finds the band bouncing around and between sunny pop, blues punk and wide-eyed psychedelia informed by John Lennon‘s Plastic Ono Band and Harry Nilsson‘s Lennon-produced Pussy Cats.
In the buildup to the album’s release, I’ve managed to write about two of Bittersweet Demons’ singles:
The Tim Karmouche penned “Francesca,” a rousingly upbeat, hook-driven ripper with a subtle New Wave polish written for Kenny-Smith’s mother, who found a new lease on life through newfound love.
“Eating At You,” a slow-burning and melancholic sing-a-long that subtly recalls “I Got Friends in Low Places,” with the song being an ode to those deeply troubled friends and erstwhile n’er-do-wells of life that you can’t help but love.
Bittersweet Demons’ third and latest single is the mid-tempo, piano-driven, jangling blues and album title track “Bittersweet Demons.” And unlike its immediate predecessor, the song is one of those melancholy, pour some of your booze out for the dead homies jam that becomes sadly all too common when you get older.
“I was messing around with the tune on the piano for a while but never knew where to take it lyrically,” The Murlocs’ Kenny-Smith recalls in press notes. “Over time the bones of the song sat away in the back of my mind waiting for the right time to come back out and be pieced together properly. Whilst we were on tour in America in 2019 one of my sweetest and dearest friends Keegan Walker passed away. His presence was unlike any other I have ever experienced. That kind of person that’s forever filling you up with joyous excitement. Someone that always took the time and effort to be in your life and support you through the thick and thin no matter what. Every time I came home from tour he was always the first to contact me and come by with some croissants and a handful of lavender that he’d pick from my front garden. Keegan was always there for his friends. A few days after the funeral I sat back down to play at the piano and the words started to come out and feel right. I reckon Keegan would’ve loved this song, he loved this kind of soppy stuff cause he’s a softie just like me.”
Directed and edited by Guy Tyzack, the recently released video for “Bittersweet Demons” was shot on grainy Super 8 Film and follows the adventures and memories of a lonely house that misses his human friends — and at one point is looking for a human to inhabit it.
Robert Finley is a 67 year-old Winnsboro, LA-born, Bernice, LA-based singer/songwriter, who was one of eight children in a family of sharecroppers. As a child, a young Finley was unable to regular attend school and often worked with his family in the cotton fields. When he was a teenager, he briefly attended a segregated school; but he dropped out in the 10th grade to help the family out financially.
As an adult, Finley has lived a full, complicated and often messy life: he’s an army veteran and a skilled carpenter, who has survived house fires, a bad auto accident and a divorce. Sadly, the Winnsboro-born, Bernice-based singer/songwriter lost his sight in his 60s as a result of glaucoma,.and although he was forced to retire from being a carpenter, Finley realized that he had an opportunity to pursue a lifelong dream — becoming a musician and singer. Finley believes that his sight was improved by the power of prayer — and that his faith has also helped him focus on launching a music career in his 60s. According to Finley “losing my sight, gave me the perspective to see my true identity.”
Finley’s rise has been rapid: As the story goes, Dan Auerbach immediately saw Finley’s potential, quickly proclaiming that the Louisiana-born and-based artist is “the greatest living soul singer.” As Auerbach recalls in press notes, “He walked in like he was straight out of the swamp.” He adds, “He had leather pants, snakeskin boots, a big Country & Western belt buckle, a leather cowboy hat and a three-quarter-length leather duster. The final touch was the folding cane the legally blind Finley wore on his hip, in a holster. Basically, he was dressed for national television.”
Auerbach went on to produce Finley’s 2017 breakthrough sophomore album Goin’ Platinum, an album released to widespread critical acclaim from the likes of the Associated Press, who praised Finley’s ability to lend “instant credibility to any song” and The Observer, who wrote “Finley’s versatile voice ranges from prime Motown holler to heartbroken falsetto croon.” The Louisiana-born and-based singer/songwriter went on to support the album with international touring across 10 countries — with his live show drawing praise from a number of publications, including The New York Times and several others. Finley was also profiled on PBS NewsHour, which led him to becoming a contestant on the 2019 season of America’s Got Talent, eventually reaching the semi-finals.
Finley’s third album Sharecropper’s Son was released last week through Easy Eye Sound. The album continues the Louisiana-born and-based singer/songwriter’s successful collaboration with Auerbach and features songwriting and cowrites from Finley, Auerbach, Bobby Wood and Pat McLaughlin. And much like other Easy Eye Sound releases, the album features an All-Star backing band that includes Auerbach (guitar);Kenny Brown (guitar), a member of R.L Burnside‘s backing band; studio legends Russ Pahl (pedal steel) and Louisiana-born, Nashville-based Billy Sanford (guitar); Bobby Wood (keys and as previously mentioned songwriting); Gene Chrisman (drums), who’s a Memphis and Nashville music legend; as well as contributions The Dap Kings‘ Nick Movshon (bass), Eric Deaton (guitar); Dave Roe (bass), who was member of Johnny Cash‘s backing band; Sam Bacco (percussion) and a full horn section.
Sharecropper’s Son may arguably be the most personal album of Finley’s growing catalog, drawing directly from his life and experience. “I was ready to tell my story, and Dan and his guys knew me so well by then that they knew it almost like I do, so they had my back all the way,” Finley says in press notes. “Working in the cotton fields wasn’t a pleasant place to be, but it was part of my life. I went from the cotton fields to Beverly Hills. We stayed in the neighborhood most of our childhood. It wasn’t really all that safe to be out by yourself. One of the things I love about music is that, when I was a boy growing up in the South, nobody wanted to hear what I had to say or what I thought about anything. But when I started putting it in songs, people listened.”
In the buildup to the album’s release, I wrote about two of the album’s released singles:
“Country Boy,” a swampy and funky bit of country soul featured a tight, strutting groove, bluesy guitar lines, shimmering organ and Finley’s soulful and creaky falsetto paired with autobiographic lyrics, which were improvised on the spot with the tape rolling. “When we play live, I always leave room in the show for lyrics I make up on the spot while the band hits a groove,” Finley explains. “I guess the younger generation calls it free-styling, but for me, it’s just speaking from my mind, straight from my soul.” While lyrically, the song touches upon classic blues fare — heartbreak, loneliness, being broke, being a stranger far away from home and the like, the song is fueled by Finley’s sincerity. He has lived through those experiences, and you can tell that from the vulnerable cracks in his weathered croon.
Album title track “Sharecropper’s Son,” a strutting blues holler featuring James Cotton-like blasts of harmonica, shimmering Rhodes, a chugging groove, a classic blues solo, and Finley’s creaky and soulful crooning and shouts. And much like its predecessor, the song is fueled by both the lived-in experiences of its writer and the novelistic details within the song: you can feel the hot sun on Finley’s and his siblings’ skin, the sore muscles of backbreaking and unending labor in the fields. But throughout the song, its narrator expresses pride in his family doing whatever they could do legally to survive and keep food on the table.
“Make Me Feel Alright,” Sharecropper’s Son’s latest single is a swampy boogie that’s one part John Lee Hooker barroom blues, one part Mississippi Delta Blues centered around a twangy blues guitar line, a shuffling rhythm and Finley’s expressive crooning. While being the sort of song you want your bartender to play loudly on a Friday or Saturday night, as you try to spit some game to some pretty young thing, the song as Finley explains in press notes “is about not looking for love, but for companionship. Sometimes you want to find someone to have a good time, You meet someone, have a fun night and then go on your separate ways with your own problems at the end of the night but still experience love in the moment.”
Directed by frequent visual collaborator Tim Hardman, the recently released video follows Finley as he tries to get a woman to spend a little time with him. While on his property, the video reveals Finley as a fun old guy looking for a little bit of fun — because life is short after