Category: Soul Music

Single Review by William Ruben Helms

New Audio: JOVM Mainstay Yola Releases an Uplifting Tune for Young Black Women

With the release of her critically applauded, Dan Auerbach-produced full-length debut, last year’s Walk Through Fire, the Bristol, UK-born, Nashville-based singer/songwriter, guitarist and JOVM mainstay Yola had a highlight-filled, breakthrough year. Some of those major highlights included:

playing a breakout performance at SXSW
making her New York debut at Rockwood Music Hall
playing a live session for YouTube at YouTube Space New York
opening for a list of acclaimed artists including Kacey Musgraves, Lake Street Dive and Andrew Bird on a select series of US tour dates that featured stops at Newport Folk Festival, Hollywood Bowl, Austin City Limits Festival, Lincoln Center Out of Doors
making her nationally televised debut on CBS This Morning: Saturday Sessions
receiving a Grammy nomination for Best Artist, along with fellow JOVM mainstays The Black Pumas.
making her late night national television debut on Jimmy Kimmel Live!
releasing a soulful cover of Elton John‘s “Goodbye Yellow Brick Road,” that’s not only a staple of her live sets — but caught the attention of Sir Elton John himself, who praised the rapidly rising artist and her cover.

The British-born JOVM mainstay had hopes to build upon the incredibly momentum of 2019 with a handful of opportunities that many artists across the world would probably kill someone for: Earlier this year, it was announced that she was preparing to play blues and rock ‘n’ roll pioneer Sister Rosetta Tharpe in Baz Luhrmann’s musical drama Elvis alongside Austin Butler in the title role, Tom Hanks as Colonel Tom Parker and Maggie Gyllenhaal as Presley’s mother. Unfortunately, the film wound up being delayed as a result of pandemic-related shutdowns- and infamously, Tom Hanks contracting COVID-19 while filming in Australia.

The Bristol-born, Nashville-based JOVM mainstay finished her first Stateside headlining tour, which included a Music Hall of Williamsburg show in February, right before pandemic-related shutdowns put the entire known world on pause. In between filming, she was supposed to play a series of dates opening for country superstar Chris Stapleton and Grammy Award-winning acts The Black Keys and Brandi Carlile — with one of those shows being at Madison Square Garden. The best laid plans of mice and men, indeed.

In the meantime, Yola has made her rounds across the domestic, late night television show circuit: Earlier this year she performed, album bonus track “I Don’t Want to Lie” on The Late Late Show with James Corden — and recently, Yola was on Late Night with Seth Meyers with a soulful, gospel-tinged cover of Nina Simone‘s classic and beloved “To Be Young, Gifted and Black” filmed at The Ryman Auditorium.

Her latest single, the Dave Cobb-produced “Hold On” is the first bit of original material from the JOVM mainstay since the release of Walk Through Fire and the track features an All-Star cast backing her including The Highwomen bandmates Brandi Carlile (backing vocals) and Natalie Hemby (backing vocals), Sheryl Crow (piano) and Jason Isbell (guitar). The Yola penned song was recorded during The Highwomen self-titled debut sessions at RCA Studio A — and the track is an uplifting, gospel-tinged track with a warm yet spacious country soul arrangement and that incredibly soulful powerhouse vocal range. The sister can flat out sang, as they say. And along with the aforementioned cover of “To Be Young Gifted and Black,” “Hold On” comes from a rather personal, lived in place.

Inspired by many of the conversations and lessons Yola’s mother gave her about the racism, colorism and systemic unconscious bias she would later experience as a woman, the song finds its narrator imploring the listener — young, Black women, in particular — to be brash and bold, to stand up and take up place, and to to show the entire world that being young, gifted and black is where it’s at, as Nina once sang. Fuck yes, to all of this — and all the goddamn time, too.

“‘Hold On’ is a conversation between me and the next generation of young black girls,” Yola explains. “My mother’s advice would always stress caution, that all that glitters isn’t gold, and that my black female role models on TV are probably having a hard time. She warned me that I should rethink my calling to be a writer and a singer…. but to me that was all the more reason I should take up this space. ‘Hold On’ is asking the next gen to take up space, to be visible and to show what it looks to be young, gifted and black.”

A proportion of the profiles from sales of the track will be donated to MusicCares and National Bailout Collective. She also launched an accompanying line of merch with a proportion of proceeds from those sales also benefiting the same organizations. Check out the following:

https://www,iamyola.com/store

Video by William Ruben Helms

New Video: Acclaimed Scandinavian Soul Artist Jonas Releases a Strutting Ode to Self-Care

Copenhagen-based singer/songwriter and multi-instrumentalist Jonas (born Jonas Rendbo) has been hailed by international press as the Godfather of Scandinavian Soul throughout the course of his 20+ year music career. Renbo has managed to be remarkably prolific, releasing a ton fo his own original music, which he has supported with tours sharing stages with the likes of internationally applauded artists like Omar, John Legend, Joss Stone, Lynden David Hall and Bilal among a lengthy and growing list of others. Adding to his accolades, Rendbo won Artist of the Year and Best Video at the 2016 Scandinavian Soul Music Awards.

Since 2004, Rendbo has split time between Copenhagen and London, where he met his wife and started a family. And while in London, he started collaborating with London-based multi-instrumentalist and producer The Scratch Professor, who coincidentally is Omar’s brother. Rendbo and The Scratch Professor had an instant musical simpatico and a couple of songs they wrote together wound up on Jonas’ sophomore album 2009’s W.A.I.T.T.

Their collaboration also managed to produce a handful of songs that the Copenhagen-based singer/songwriter had kept in his vault over the past decade or so— until he released them as the four song EP EP 4ward Fast To Future. Recorded, produced, mixed and mastered during COVID-19 quarantine lockdown during April, the EP is return to the warm, neo-soul sounds of his earliest work. Earlier this year, I wrote about “Pick Me Up,” a warm, 90s neo-soul track, centered around shimmering Rhodes, boom bap-like beats, a sinuous bass line, a strutting horn line, an infectious hook and Rendbo’s sultry and plaintive falsetto. And while being a joyous, two step-inducing, radio friendly jam, the song’s narrator talks about desiring — and then having — the sort of love (and lover) that most of us dream of: that ride or die person, who’s with you and supports you through thick and thin, joy and heartbreak, sickness and health.

The EP was released to widespread praise across the blogosphere including SoulBounce.com, ScandinavianSoul.com and was a featured album on SoulTracks.com. Additionally, the EP’s material received airplay on soul music ration station across the globe. Building upon that momentum, the Danish-born singer/songwriter released teh 4ward Fast to Future (Remixes) which features remixes of some of the EP’s material by friends and musical collaborators, done inc completely different styles. But in the meantime, Renbo released the EP’s latest single, the slow-burning “What’s Cooking.” Much like it’s predecessor, the track is centered by twinkling Rhodes arpeggios, a sinuous bass line, strutting horns and Renbo’s plaintive vocals; however, the song finds its narrator wanting to simply his life and find himself in his own terms while living in a chaotic world.

Featuring video graphics and editing by Jacob Vinjegaard, the recently released video for “What’s Cooking” is shot with a grainy Instagram-like filter and follows Renbo in some intimate and trippy footage.

Single Review by William Ruben Helms

Founded and led by composer, arranger and producer Seth Applebaum, the New York-based psych rock/psych soul act Ghost Funk Orchestra initially began as a lo-fi recording project in 2014. And since their formation, the project has grown into an 10 member unit that has become a forceful and up-and-coming presence in the city’s psych rock and soul scenes as a result of unique sound that draws from salsa, surf rock, Afrobeat and several others.

Last year, the act released their full-length debut A Song for Paul last year. Conceived as a tribute for Seth Applebaum’s late grandfather Paul Anish, a figure, who who played an immense role in the Ghost Funk Orchestra’s founder and bandleader’s life. And although the song don’t address Paul Anish directly, the album’s creative direction were meant to convey what Anish’s presence felt like for Seth — a tough but kind, old-school, native New Yorker. For Applebaum, accurately capturing what his grandfather’s essence meant to him, forced him to expand the band’s arrangements and overall sound much further than anything he had done up to that point, including writing more comprehensive horn lines and working with a string section.

The New York-based psych soul act’s sophomore album An Ode to Escapism is slated for a November 13, 2020 release through Karma Chief Records, an imprint of Colemine Records. Sonically, An Ode to Escapism continues and further expands upon the sound they’ve developed on their full-length debut: the arrangements are more intricate and centered around odd time signatures, the drums are heavier and vocal harmonies soar over it all. Thematically, the album touches upon isolation, fear of the unknown and the fabrication of the self-image — and is specifically meant to invite to listener to close their eyes, while listening and delve into their subconscious, if they’re not too afraid to do so.

An Ode to Escape‘s first single is the cinematic and expansive “Queen Bee.” Featuring a looping, bluesy guitar line, a soaring string arrangement, the song is centered around an unusual song structure that finds the band defy maneuvering three wildly different time signatures to convey someone digging themselves out of a self-flagellating pit and finding their swagger.

“‘Queen Bee’ is a song about finding strength in not caring what people think of you,” the band’s Seth Applebaum explains. “It’s about digging yourself out of a pit of self-consciousness and strutting your stuff however it may come across. Led by Megan Mancini, this tune has been a staple in the live repertoire for a while, but it was also one of the most difficult songs to conquer in the studio. As the first song that was written and recorded for An Ode To Escapism, ‘Queen Bee’ set a high bar for difficulty as its challenge was to find a way to move seamlessly between three very different feeling time signatures (3/4, 10/8, and 4/4). On the surface it feels like a pop song, but in true GFO fashion, there’s a lot to be discovered beneath the surface.”


Video by William Ruben Helms

New Video: Montreal’s The Brooks Release a DIsco Soul Ode to Unrequited Love

The Brooks is a rising Montreal-based soul act that formed over eight years ago. And since their formation, the Montreal-based act proudly claims some of that city’s most accomplished musicians:

Florida-born, Montreal-based singer/songwriter and frontman Alan Prater has toured with Michael Jackson — and the band itself can trace much of its origins to behind the walls of the Motown Museum:
Alexandre Lapointe (bass) has worked alongside Joel Campbell, the musical director for Tina Turner and Janet Jackson.
Prater and Lapointe are joined by Maxime Bellavance (drums), Phillips Look (guitar, vocals), Daniel Thouin (keys), Sébastien Grenier (sax), Hichem Khalifa (French horn), and Phillipe Beaudin (percussion).

Developing and honing a sound that draws from James Brown, D’Angelo, Fela Kuti, Herbie Hancock and J. Dilla, the members of The Books have a songwriting approach that eschews rules and trends, fueled by the dual missions of spreading joy and the funk. And with the release of two albums and an EP, the band, which was once named the“best kept secret of Canadian funk” by La Presse, and nominations, and award wins at GAMIQ, Independent Music Awards, ADISQ, and others has built up a provincial and national profile.

Slated for an October 23, 2020 release through Duprince Records across North and South America and Underdog Records through Europe and Japan, the Montreal-based soul outfit’s third album Any Day Now finds the band firmly establishing their unique songwriting approach and sound. Earlier this year, I wrote about the strutting and stomping party anthem “Turn Up the Sound,” a track that recalled The Payback-era James Brown, Dance to the Music and Stand!-era Sly and the Family Stone while encoring people to get up out of that seat, dance and enjoy themselves, and escape their worldly concerns for 3-4 minutes or so. “I just wanted to write a fun song to get you to escape from whatever you’re doing,” the band’s Alan Prater explains in press notes.

Any Day Now’s latest single “Gameplay” is a slick, two-step inducing synthesis of 70s disco soul, funk and psych soul centered around a supple bass line, shuffling Nile Rodgers-like rhythm guitar, wah-wah pedal -driven lead guitar, a soaring string arrangement — within an expansive, yet pop-leaning song structure. Thematically, the song as the band’s Alan Prater explains is about a fairly common experience that countless straight men have had: “This song is about a boy wanting the girl that’s out of his league, but he has to have her. I’m Sure most guys have been there…haha”

Directed by Fred Remuzat, the recently released video for “Gameplay” visually recalls the animation style of Gorillaz — but while sweetly telling the song’s central story: boy falls for girl, who may not know he even exists. And yet through music, the boy makes his earnest plea of devotion and love, which manage to move the woman. The video is a blast of something adorable that I desperately needed. I suspect y’all will feel the same.

Single Review by William Ruben Helms

Rydell · Three Wise Monkeys

With the release of her debut single, Vienna-based singer/songwriter Kimberly Rydell, best known as Rydell, exploded into the international scene, as her debut received praise from Complex and The Line of Best Fit, as well as landing on Spotify’s Fresh Finds: The Wave playlist.

Building upon a rapidly growing profile, the Vienna-based singer/songwriter recently released GoodBrain-produced debut EP Stained Notes. The EP’s material came from a fluid writing process in which they committed each element straight to the final recording as soon as it was written. “Every idea led to another and another and another. It felt like the more dense it became, the better. What started with guitar and vocals, was then constructing and seating a new orchestra member every 15 minutes,” Rydell recalls in press notes. Additionally, the rising Vienna-based singer/songwriter paid particular attention to the way the material’s instrumentation influenced her thoughts and emotions, making sure that her lyrics were carefully intertwined with the arrangements.

The EP”s first single “Three Wise Monkeys” was coincidentally, the first song of the sessions that GoodBrain and Rydell wrote together. Starting off with Rydell’s soulful vocals and strummed acoustic guitar, the song slowly builds up intensity with soaring organ flourishes, a gospel-like backing choir, thumping and propulsive snare drum, the song is thematically centered around the old proverb of the three wise monkeys — hear no evil, see no evil, speak no evil. But at its core, the song is an earnest and urgent call to listeners to open their eyes, ears, months and hearts at a time of monstrous evil and inequality that sonically manages to nod at Daptone Records and JOVM mainstay Hannah Williams and The Affirmations.
 

 

 

 

Video by William Ruben Helms

Live Footage: Black Pumas Performs “Fire” on “The Tonight Show Starring Jimmy Fallon”

I’ve spilled quit a bit of virtual ink covering the Grammy Award-nominated Austin, TX-based soul act and JOVM mainstays, Black Pumas over the past year. Led by Grammy Award-winning producer, songwriter, guitarist and producer Adrian Quesada and San Fernando Valley-born singer/songwriter and guitarist Eric Burton, the acclaimed act can trace their origins back to 2017. Burton, who grew up singing in church and in musical theater, started busking at the Santa Monica pier, where he brought in a few hundred dollars and day and honing his performance skills. He then traveled through the Western states before deciding to settle down in Austin, setting up a busking spot on 6th Street and Congress, a prime location in the city’s downtown neighborhood for maximum exposure.  

Meanwhile, Quesada was looking to collaborate with someone new. He reached out to friends in Los Angeles and London — but nothing seemed to fit. Serendipitously, a mutual friend recommended Burton to Quesada, telling the Grammy Award-winning songwriter, guitarist and producer that Burton was the best singer he had ever heard. The two musicians connected but Burton took a while to respond. “My friends were like ‘Dude, you’re a mad man, you need to hit that guy back!’” Burton recalls. When Burton did call Quesada, he sang to him over the phone. “I loved his energy, his vibe, and I knew it would be incredible on record,” Quesada says. “From the moment I heard him on the phone, I was all about it.”

Last year, the duo along with a talented cast of collaborators released their breakthrough full-length debut. Along with that, the band had gone on a relentless tour schedule that brought their uplifting live show across North America and the European Union, including three separate stops in the New York area: The Knitting Factory, last May; Mercury Lounge, last July; and Brooklyn Bowl last September. Additionally, during that same period of time the band has made begun to make the rounds across the nationally televised talk show circuit, playing  Jimmy Kimmel Live, The Ellen Show and others.

Since the self-titled debut’s release, the album has sold 155,000+ album equivalents worldwide, with smash hit “Colors” hitting #1 on Adult Album Alternative (AAA) radio and has been streamed over 60 million times. And as I mentioned earlier, the band was nominated for a Best New Artist Grammy along with fellow JOVM mainstay Yola — losing out to Billie Eilish.

Black Pumas will be releasing a deluxe version of their breakthrough self-titled album, which will feature new artwork, previously unpublished in-studio and live performance photographs, as well as a bonus 7 inch featuring three previously unreleased originals, live-in studio versions of “Colors,” “October 33,” and “Confines;” a live version of “Know You Better,” recorded at C-Boys Heart & Soul, the Austin club, where the band first made a name for themselves; the band’s attention-grabbing covers of The Beatles‘ “Eleanor Rigby,” Death’s “Politicians in My Eyes,” Bobby “Blue” Bland‘s “Ain’t No Love in the Heart of the City,” and Tracy Chapman‘s “Fast Car,” which they premiered on The Late Show with Stephen Colbert last month.

Building upon their rapidly growing profile, the act was recently on The Tonight Show Starring Jimmy Fallon, where they performed one of my favorite songs off their self-titled album, the Muscle Shoals-like shuffle “Fire.”

Single Review by William Ruben Helms

James Chatburn · Jewellery And Gold

I’ve written a quite a bit about the Sydney-born, Berlin-based singer/songwriter and producer James Chatburn over the past five years or so. With the release of his first two EPs and a string of critically applauded, commercially successful collaborations — including Aussie hip-hop act Hilltop Hoods‘ certified Gold single “Higher,” Chatburn quickly established himself as an in-demand songwriter and producer, and one of indie soul’s rising talents, developing and honing a sound that features elements of soul, blues, electro pop and neo soul.

Chatburn’s highly-anticipated full-length debut, Faible is slated for release later this year, and the album reportedly finds the Sydney-born, Berlin-based artist further cementing the warm, soulful sound that has won him attention internationally  — but while pushing his sound in a subtly psychedelic direction: the album’s material sonically is influenced by Unknown Mortal Orchestra, D’Angelo, Donny Hathaway, and Shuggie Otis among others. Earlier this year, I wrote about album single “In My House,” a warm and vibey two-step inducing track centered around introspective songwriting. “Jewellery and Gold,” Faible‘s latest single continues a run of vibey and dusty neo-soul featuring twinkling, old-timey keys propulsive boom bap-like breakbeats, a sinuous bass line and Chatburn’s effortlessly soulful crooning.

Interestingly, the song may be among the funniest, most tongue-in-cheek leaning song he’s written, as the song finds him — er, his narrator — looking forward to a future where he’s flush with cash and all of his issues would just dissolve, because — well, money.  Those of us, who have worked hard to live check-to-check understand that one implicitly.

“It started off as a noughties Pharrell/Neptunesy kind of vibe, but then I replaced the original synth with a piano and I decided to go for this throwback soul feeling, coming back to this Neptunes vibe in part c,” Chatburn says of his latest single. “As an indie artist I don’t live off much money, but sometimes I think, damn it would be nice to have a little more, even if I know that’s not gonna solve anything.”

Video by William Ruben Helms

New Video: JOVM Mainstay Hannah Williams and The Affirmations Releases a Fan Submitted Video for Their Cover of Nirvana’s “Heart-Shaped Box”

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.”
 

Directed and post-produced by Emma Holbrook, the recently released video is split between footage of Williams in a very English forest, singing the song and an accumulation of footage shot by fans for use for the video:  much of the fan shot footage features people attempting to manage life in COVID-19 related lockdowns — we see a woman pole dancing to the song, another doing some expressionistic, modern dancing, others submitted footage of lip syncing to the song and a bunch of others. Life is stranger than ever and somehow we’ll figure a way through it.  

Video by William Ruben Helms

Live Footage: Black Pumas Perform “Confines” with a String Quartet

I’ve spilled quit a bit of virtual ink covering the Grammy Award-nominated Austin, TX-based soul act and JOVM mainstays, Black Pumas over the past couple of years. Led by Grammy Award-winning producer, songwriter, guitarist and producer Adrian Quesada and San Fernando Valley-born singer/songwriter and guitarist Eric Burton, the acclaimed act can trace their origins back to 2017. Burton, who grew up singing in church and in musical theater 

Burton, who grew up singing in church and in musical theater, started busking at the Santa Monica pier, where he brought in a few hundred dollars and day and honing his performance skills. He then traveled through the Western states before deciding to settle down in Austin, setting up a busking spot on 6th Street and Congress, a prime location in the city’s downtown neighborhood for maximum exposure.  Meanwhile, Quesada was looking to collaborate with someone knew. He reached out to friends in Los Angeles and London — but nothing seemed to fit. Serendipitously, a mutual friend recommended Burton to Quesada, telling the Grammy Award-winning songwriter, guitarist and producer that Burton was the best singer he had ever heard. 

The two musicians connected but Burton took a while to respond. “My friends were like ‘Dude, you’re a mad man, you need to hit that guy back!’” Burton recalls. When Burton did call Quesada, he sang to him over the phone. “I loved his energy, his vibe, and I knew it would be incredible on record,” Quesada says. “From the moment I heard him on the phone, I was all about it.”

Last year, the duo along with a talented cast of collaborators released their breakthrough full-length debut. Along with that, the band had gone on a relentless tour schedule that brought their uplifting live show across North America and the European Union, including three separate stops in the New York area: The Knitting Factory, last May; Mercury Lounge, last July; and Brooklyn Bowl last September. Additionally, during that same period of time the band has made begun to make the rounds across the nationally televised talk show circuit, playing  Jimmy Kimmel Live, The Ellen Show and others.

Since the self-titled debut’s release, the album has sold 155,000+ album equivalents worldwide, with smash hit “Colors” hitting #1 on Adult Album Alternative (AAA) radio and has been streamed over 60 million times. And as I mentioned earlier, the band was nominated for a Best New Artist Grammy along with fellow JOVM mainstay Yola — losing out to Billie Eilish. 

Black Pumas will be releasing a deluxe version of their breakthrough self-titled album, which will feature new artwork, previously unpublished in-studio and live performance photographs, as well as a bonus 7 inch featuring three previously unreleased originals, live-in studio versions of “Colors,” “October 33,” and “Confines;” a live version of “Know You Better,” recorded at C-Boys Heart & Soul, the Austin club, where the band first made a name for themselves; the band’s attention-grabbing covers of The Beatles’ “Eleanor Rigby,” Death’s “Politicians in My Eyes,” Bobby “Blue” Bland’s “Ain’t No Love in the Heart of the City,” and Tracy Chapman’s “Fast Car,” which they premiered on The Late Show with Stephen Colbert last month. To celebrate the forthcoming release of the deluxe edition, the band released live footage of their in-studio performance of “Confines” with a string quartet. While continuing to show viewers that Burton is a stand-out star, the in studio rendition is a stunningly gorgeous version of the album single. 

Video by William Ruben Helms

New Video: Crushed Velvet and The Velveteers and Brother GoodLove Follow Black Lives Matters Protests in DC

Alan Evans is a songwriter, composer, multi-instrumentalist and producer, best known for being the co-founder of acclaimed jazz fusion trio and JOVM mainstays Soulive. Back in 2008, while Soulive was on a break from touring, Evans spent his time producing, recording and mixing bands from around the world in his Western Massachusetts-based recording studio. On his off days, Evans would go into the studio and play guitar, eventually recording a collection of songs that he felt didn’t quite fit with Soulive that he wanted to release on his own — Crushed Velvet and The Velveteers wound up becoming Evans’ guitar playing alter ego.

Last month, I wrote about “Good Thang,” a track that featured an All-Star cast of funk and jazz musicians that included DJ Williams’ Shots Fired‘s and Rubblebucket’s Darby Wolf (organ), The Curtis Mayflower’s Pete Aleski (guitar), Akashic Record’s and BT ALC Big Band’s Brian “BT” Thomas” (trombone), ALC Funktet’s and BT ALC Big Band’s Alex Lee-Clark (trumpet), BT ALC Big Band’s Tucker Antell (alto and tenor saxophone) BT ALC Big Band’s Jared Sims (baritone sax) and Kim Dawson (vocals), who contributed sultry vocals to a feel good, Daptone meets Muscle Shoals-like anthem.

Crushed Velvet and The Velveteers’ latest single “As Far As We Know” finds Evans collaborating with frequent collaborators Darby Wolf (piano), BT ALC Big Band’s Alex Lee-Clark (trumpet) and Brian “BT” Thomas (trombone) and Cynthia Tolson (string) on a slow-burning and gentle old-school arrangement that recalls Curtis Mayfield. Stephane Detchou, a Montreal-born and-based, Cameroonian-Canadian singer/songwriter, who writes and performs as Brother GoodLove, a soul project that finds the Cameroonian-Canadian exploring his identity and sense of self and reflecting on the world at large while pushing for a future with peace through the understanding of others contributes the song’s hopeful and uplifting lyrics and vocals. Even when things seem bleak and uncertain, we can still hold on to the hope that a new paradigm and a new world may be just around the corner — it’s just a shame that Martin Luther King, Malcolm X, John Lewis and countless other brothers and sisters, who pushed this country to live up to the ideals of its framers aren’t alive to finally see it.

“I originally wrote the music for ‘As Far As We Know’ back in May 2019 with another VLM project in mind,” Evans says of the latest Crushed Velvet and The Velveteers single. “”I knew that I wanted to have Stephane (Brother GoodLove) singing on this song from the beginning. I didn’t realize that Stephane would turn that working title into such beautiful and powerful lyrics—I was really blown away when he sent me the first demo of the vocal and couldn’t wait to get it into full production but for whatever reason, it wasn’t the right time. But once I had the idea for the new CrushedVelvet and the Velveteers album, ‘As Far As You Know’ being included was a no brainer. So during quarantine, Stephane cut the vocals and I called on my Vintage League Music family of musicians to fill out the song and the rest is history. Without a doubt, it’s one of my favorite songs I’ve ever written.”

Directed by Samuel Hall, the recently released video for “As Far As Know” follows Stephane Detchou on a stroll through Washington, DC — and while capturing daily life in DC during the COVID-19 pandemic, the video primarily is focused around the city’s Black Lives Matter protests. The song and its accompanying video manages to capture the hope  for positive change and equality for all that we hope is coming soon. And in case you forgot: BLACK LIVES MATTER! 

Single Review by William Ruben Helms

Alan Evans is a songwriter, composer, multi-instrumentalist and producer, best known for being the co-founder of acclaimed jazz fusion trio and JOVM mainstays Soulive. Back in 2008, while Soulive was on a break from touring, Evans spent his time producing, recording and mixing bands from around the world in his Western Massachusetts-based recording studio. On his off days, Evans would go into the studio and play guitar, eventually recording a collection of songs that he felt didn’t quite fit with Soulive that he wanted to release on his own — Crushed Velvet and The Velveteers wound up becoming Evans’ guitar playing alter ego.

Last month, I wrote about “Good Thang,” a track that featured an All-Star cast of funk and jazz musicians that included DJ Williams’ Shots Fired‘s and Rubblebucket’s Darby Wolf (organ), The Curtis Mayflower’s Pete Aleski (guitar), Akashic Record’s and BT ALC Big Band’s Brian “BT” Thomas” (trombone), ALC Funktet’s and BT ALC Big Band’s Alex Lee-Clark (trumpet), BT ALC Big Band’s Tucker Antell (alto and tenor saxophone) BT ALC Big Band’s Jared Sims (baritone sax) and Kim Dawson (vocals), who contributed sultry vocals to a feel good, Daptone meets Muscle Shoals-like anthem.

Crushed Velvet and The Velveteers’ latest single “As Far As We Know” finds Evans collaborating with frequent collaborators Darby Wolf (piano), BT ALC Big Band’s Alex Lee-Clark (trumpet) and Brian “BT” Thomas (trombone) and Cynthia Tolson (string) on a slow-burning and gentle old-school arrangement that recalls Curtis Mayfield. Stephane Detchou, a Montreal-born and-based, Cameroonian-Canadian singer/songwriter, who writes and performs as Brother GoodLove, a soul project that finds the Cameroonian-Canadian exploring his identity and sense of self and reflecting on the world at large while pushing for a future with peace through the understanding of others contributes the song’s hopeful and uplifting lyrics and vocals. Even when things seem bleak and uncertain, we can still hold on to the hope that a new paradigm and a new world may be just around the corner — it’s just a shame that Martin Luther King, Malcolm X, John Lewis and countless other brothers and sisters, who pushed this country to live up to the ideals of its framers aren’t alive to finally see it.

“I originally wrote the music for ‘As Far As We Know’ back in May 2019 with another VLM project in mind,” Evans says of the latest Crushed Velvet and The Velveteers single. “”I knew that I wanted to have Stephane (Brother GoodLove) singing on this song from the beginning. I didn’t realize that Stephane would turn that working title into such beautiful and powerful lyrics—I was really blown away when he sent me the first demo of the vocal and couldn’t wait to get it into full production but for whatever reason, it wasn’t the right time. But once I had the idea for the new CrushedVelvet and the Velveteers album, ‘As Far As You Know’ being included was a no brainer. So during quarantine, Stephane cut the vocals and I called on my Vintage League Music family of musicians to fill out the song and the rest is history. Without a doubt, it’s one of my favorite songs I’ve ever written.”

Video by William Ruben Helms

Throwback: Happy 81st Birthday Mavis Staples!

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!

Video by William Ruben Helms

New Video: JOVM Mainstay Adeline Returns with an Intimate Visual for Slow-Burning “Just Another Day”

Since initially making a name for herself as the frontwoman of the equally acclaimed dance music/nu-disco outfit Escort, the New York-based singer/songwriter, bassist and producer and JOVM mainstay Adeline has developed a reputation as a solo artist of note, releasing her self-titled, full-length debut to critical praise from the likes of Vogue, NPR, Refinery 29, Rolling Stone, The Fader and many others.

The JOVM mainstay has opened for Anderson .Paak, Lee Fields, Chromeo, Big Freedia and Natalie Prass among a lengthening list of artists, which  which has helped to further cement her reputation for dazzling audiences with her beauty, her captivating live show and energetic presence. Adding to a growing profile as a solo artist, the Parisian-born, Brooklyn-based singer/songwriter and bassist, has made appearances across the national festival circuit, including Afropunk, Funk on the Rocks and Winter Jazz Fest. She’s also a member of CeeLo Green’s touring band, making her — arguably — one of the hardest working women in New York’s music scene. 

Officially dropping today, Intérimes EP, the highly-anticipated follow-up to her full-length debut features seven tracks that are a future-facing nod to old school soul, funk, R&B and neon that will include “Middle,” which she performed on CBS This Morning,  the sultry Quiet Storm-like “Twilight,” the disco-tinged Jonathan Singletary co-written “After Midnight,” the and the EP’s latest single, is a slow-burning, neo-soul strut “Just Another Day.” Centered around a sinuous bass line, the JOVM’s sultry vocals, her unerring knack for an infectious hook and some twinkling Rhodes, the track recalls Erykah Badu — but as the JOVM mainstay explains in press notes “‘Just Another Day’ is about questioning your place in the world, not feeling accepted, pretending to be in someone else’s shoes, so I wanted to show characters that exude confidence and self-acceptance as a message of hope for the LGBTQ people out there who feel rejected and misunderstood.”

The recently released accompanying video features the JOVM in a couple of stylish outfits and a bikini on the beach, playing her bass and three of her dearest friends — Yussuf, Gitoo and Bambi. Each of the video’s subjects reveals a bit of their personality and humanity in a way that’s endearing: one of the men has kind eyes and a mischievous smile, another is fierce as fuck, the other serves up moves — hard.  “The video features 3 beautiful friends of mine, Yussuf, Gitoo and Bambi. They are some of the people in my life who I look up to the most when it comes to confidence and style,” the JOVM mainstay explains. 

singer/songwriters by William Ruben Helms

 

With her recently released debut EP La fille aux cheveux coleur soleil, the emerging Lille, France-based singer/songwriter Julia quickly establishes her sound and approach  — a slick synthesis of jazzy neo-soul, hop-hop inspired beats paired with the French singer/songwriter’s  powerhouse vocals singing and rhyming lyrics in her native French and English.  “I’m just trying to make you feel my  feelings. The rest is all yours,” the Lille-based singer/songwriter says in press notes.

EP title track and opener “La fille aux cheveux coleur soleil” is a swaggering and slow-burning, neo-soul track with twinkling Rhodes, thumping beats, atmospheric electronics and Julia’s effortlessly soulful and sultry vocals. The EP’s second single “Hangover” is a hip-hop soul-like track featuring some more twinkling Rhodes, boom-bap beats, a sinuous bass line and Julia singing in a jazzy and seductive French. Seemingly inspired by Erykah Badu, Jill Scott and others, with a Quiet Storm vibey-ness, these two tracks — to my ears, at least — reveal a young superstar in the making. The EP’s two singles possess a remarkable self-assuredness and confidence with the material being ambitious, accessible — and centered around earnest, lived-in experience.