Tag: Chaka Khan and Rufus Ain’t Nobody

Earlier this week, I wrote about Sammy Jay, who’s a Southern Wales-born Los Angeles-based, Mercury Prize-nominated electronic music producer, best known as SJae (pronounced Ess Jay). Now, as you may recall, the Welsh-born producer is a graduate of the BRIT School and upon graduation, Def Jam Records gave her first professional production gig on Terri Walker‘s Untitled album. Since then, the Welsh-born, Los Angeles-based electronic music producer has become of the first female music producers from the UK to have been hailed Stateside as one of the best in the best in the business by many of her peers, including some of the world’s superstar producers; in fact, during the course of her 20 year career, she has collaborated with the likes of The Roots, Ricki-Lee, Booty Luv, Terri Walker, Mis-teeq, Mark Morrison, The Pussycat Dolls, EXO, Rod Stewart and others.  She has composed music for a number of TV shows, including MTV’s Ridiculous, FOX’s Lethal Weapon and Netflix’s After Party starring KYLE and French Montana, and she has had had her own material appear on Fox’s Empire, CBS’ Flashpoint and others, as well in promos for FOX Sports, the NBA and Reelz TV. She is also currently the executive producer for Howling Music, Nashville working on music for the global ad campaigns for Hyundai and Ford. And before I forget, she also has produced logo music for a number of top radio stations including RTL, Bayern 3 and 94.7FMThe Wave.

Throughout her career, Sammy Jay has been an ardent proponent and prominent representative for women producers. Interestingly, her debut EP FIRST is slated for a March 22, 2019 release and the EP is intended as the beginning of a series of EPs that will feature collaborations with acclaimed songwriters, producers and EDM artists — with FIRST featuring guest spots from Raphael Saadiq, Sam Sparro and Dria Thornton. “The purpose of my project is to show woman can produce records, create more content and more visibility for us, so we can encourage other women to enter into the field,” Sammy Jay says of her EP series. “There are very few female record producers out there; in fact , I just gave an interview for a USC study funded by Spotify about why there are so few female producers in the industry. I believe we are haven’t been encouraged to be technical within the creative industry. The assumption is that women exist only as performers, singers and songwriters, the introduction of a women who produces music, ‘makes beats’ etc is met with surprise and a sometimes not so subtle air of disbelief, followed by much questioning on tech – ‘What software do you use?’ “Do you really know how to mix a really fat kick drum?’ etc.”

She continues, “I believe that if you don’t see yourself represented out there in the public media, you internalize the idea that you don’t belong there, or that there is no opportunity for you in that arena. I want to change that.”

The Avenue,” the EP’s first single was built around a soulful guest spot from Sam Sparro and a slick, 80s synth funk-inspired production centered around a sinuous bass line, shimmering synths, thumping beats and a razor sharp hook. And while sonically, indebted to “Ain’t Nobody” and I Feel For You-era Chaka Khan and Quiet Storm-era soul, the song manages to feel like a subtly contemporary and self-assured take on a familiar and beloved sound. “All I Think About” the EP’s second and latest single is a sensual, 90s house music-inspired track centered around a slick production featuring lush layers of shimmering and arpeggiated synths, tweeter and woofer rocking beats, a sinuous hook and vocals by the imitable Raphael Saadiq. And while club friendly, SJae’s latest track reveals an incredibly dexterous producer, who can effortlessly bounce back and forth between several different genres with a self-assured touch.

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New Video: JOVM Mainstays ESCORT Team Up with NYC Disco Legend Fonda Rae on a Glittering and Joyous Club Anthem

Throughout this site’s almost nine-year history, I’ve written a lot about the New York-based electro pop/dance music act and longtime JOVM mainstays ESCORT. Initially founded by production team Eugune Cho and Dan Balls and featuring powerhouse vocalist and bassist Adeline Michele as a core members of an act that routinely expanded from anywhere from 5 to 17 members, the acclaimed pop act have received attention across the blogosphere and elsewhere for a sound that draws from classic disco, house music, soul and funk. Adding to a still-growing profile, the members of ESCORT have played across North America’s festival circuit, including sets at Sasquatch Festival, Okeechobee Festival Montreal Jazz Festival, Full Moon Festival and others — and have shared stages with The Internet, Charles Bradley, Digable Planets, De La Soul and Cody ChesnuTT.

Since the release of the longtime JOVM mainstays last single “Josephine,” the group has gone through a major lineup change with the act’s longtime vocalist Adeline leaving to pursue a solo career, and eventually being replaced with new vocalist Nicki B, who contributes both lead and backing vocals. Unsurprisingly, ESCORT’s long-awaited album City Life, which is slated for an April 12, 2019 finds the acclaimed electro pop act may arguably be their most expansive and collaborative album they’ve worked on and released to date, as the album features guest spots from longtime Gil Scott-Heron collaborator Brian Jackson; NYC disco and soul legend Fonda Rae, best known for her classic single “Over Like a Fat Rat;” renowned dub producer Lone Ranger; and their long-time vocalist Adeline, who appears on several tracks. Sonically speaking, the album reportedly finds the band attempting to evoke the kinetic and frenzied energy of New York — with the album’s material drawing from dub, house music, Brazilian pop and disco made for turning up with your headphones while commuting or while burning up the club. 

City Life’s first single, album title track “City Life” features the legendary Fonda Rae teaming up with the act’s new vocalist Nicki B on the glittering disco banger. Centered around glistening and shimmering arpeggiated synths, a sinuous bass line, Nile Rodgers-like guitar, stuttering drum programming and a motorik-like groove, the track sonically may remind some listeners of a seamless synthesis of Fonda Rae’s classic tunes, Chaka Khan and Rufus’ “Ain’t Nobody,” 80s synth funk and classic house music — with a hedonistic thump. “We tried to put something together evoking the feeling of Fonda’s records,” Eugene Cho says in press notes, about collaborating with Fonda Rae. “We were nervous to send it to her—here’s something that’s inspired by you!—but she was totally into it. It was great.”

Directed by Bridget Barkan, the recently released video captures a night out with Escort’s Nicki B that includes meeting up with a buddy, goofing off as you ride the subway to meet the rest of the crew and heading to your favorite club to shake your ass all night to some dope DJs, followed by a stop at the diner (inevitably in this case, Kellogg’s Diner in Williamsburg) and a sleepy yet satisfied subway ride back home. It captures a wild night on the town, full of fun and possibility. 

Now, over the course of this site’s eight-plus year history, I’ve written quite a bit about the New York-based dance music collective ESCORT. And as you may recall, the act which features founding duo and production team Eugene Cho and Dan Balls and Adeline Michele as members of a core group of anywhere from five to 17 has received attention for a sound that’s indebted to disco, house music and soul — and for a live show that has made them a must-see act; in fact, the members of ESCORT have played some of North America’s biggest festivals, including Sasquatch Festival, Okeechobee Festival Montreal Jazz Festival, Full Moon Festival and others — and have shared stages with The Internet, Charles Bradley, Digable Planets, De La Soul and Cody ChesnuTT.

Now, as you may recall, things have been busy in the ESCORT universe: Adeline recently released her self-titled, full-length debut while her primary gig has released singles — and their last single “Slide,” which was co-written by denitia and sene‘s Denitia was centered around a buoyant bass line, shimmering synths, some Nile Rodgers-like guitar and Adeline Michele’s sultry vocals manages to recall Chaka Khan and Rufus“Ain’t Nobody,” making it a sort of 80s synth funk-inspired skating rink banger. The acclaimed act’s latest single “Josephine” finds them returning to their roots — a subtly modern take on classic 70s disco centered around an incredible vocalist; but in this case, the song is an anthemic, club-banging biography of the legendary Josephine Baker that manages to recalls Giorgio Moroder‘s legendary work with Donna Summer.

 

 

 

 

I’ve written quite a bit about the acclaimed New York-based electronic dance music/neo-disco outfit Escort and their indomitable frontwoman and bassist  Adeline Michele throughout the course of this site’s eight-plus year history.  Now, as you may recall, the Escort frontwoman will be releasing her self-titled full-length on Friday, and the album is a bit of a sonic and aesthetic reset button from the full-length that she released a few years ago.  In fact, the album’s first single “Emeralds” was a slinky, 80s Quiet Storm-inspired synth soul that brought Prince to mind, while being centered around a a sinuous bass line and Adeline’s sultry vocals. “Before,” the album’s  Chaka Khan and Rufus‘ “Ain’t Nobody,”  Mary J. Blige’s “Be Happy,” and Patrice Rushen‘s “Feels So Real”-like featured shimmering and arpeggiated synths and Adeline’s pop superstar vocals. 

“Hi Life,” the latest single off the Escort frontwoman’s soon-to-be released album is a straightforward yet ecstatic house music banger featuring shimmering and arpeggiated synths, thumping tweeter and woofer rocking beats, a rousing hook and Adeline Michele’s sultry pop superstar vocals. Sonically, the song brings Inner City’s house music classic “Good Life” and Larry Levan to mind but with a modern sheen.

 

 

Over the course of this site’s eight-plus year history, I’ve written quite a bit about the New York-based dance music collective ESCORT. And as you may recall, the act founded by producers Eugene Cho and Dan Balls, which features frontperson and bassist Adeline Michele as members of a core group that has at times expanded to 17 for live shows has received attention for a sound that draws from 1970s disco, soul and classic house music — and for a live show that has them as a must-see act; in fact, the members of ESCORT have played some of the world’s biggest festivals, including Sasquatch Festival, Okeechobee Festival Montreal Jazz Festival, Full Moon Festival and others — and have shared stages with The Internet, Charles Bradley, Digable Planets, De La Soul and Cody ChesnuTT.

Now, as you may recall, ESCORT’s frontperson Adeline Michele will be releasing her full-length, self-titled solo album on November 9, 2018 but in the meantime, ESCORT’s newest single “Slide” was co-written by denitia and sene‘s Denitia and the single which is centered around a buoyant bass line, shimmering synths, some Nile Rodgers-like guitar and Adeline Michele’s sultry vocals manages to recall Chaka Khan and Rufus“Ain’t Nobody,” as it’s a skating rink, club friendly banger with an infectious hook. In some way, the track is a subtle yet decided change in sonic direction with the act’s sound leaning more towards 80s synth funk.

Escort is playing two NYC are dates — November 2, 2018 and November 3, 2018 at Brooklyn Bowl. Adeline will be playing a solo, album release party at C’mon Everybody on November 13, 2018.

 

 

 

 

Now, throughout the the bulk of this site’s eight year history, I’ve written quite a bit about the acclaimed New York-based dance music outfit Escort,which features their indomitable frontwoman and bassist Adeline Michele, and as you may recall she released a solo album a few years ago — but her forthcoming self-titled, full-length effort slated for a November 9, 2018 release is something of a reset button; in fact, the Morgan-Wiley-produced “Emeralds” found the Escort frontwoman’s sound moving towards slinky 80s Quiet Storm-inspired synth soul reminiscent of Prince and others, centered around a sinuous bass line and Adeline Michele’s sultry vocals.

“Before,” the self-titled album’s latest single is centered around a funky, disco-like bass line, twinkling keys, shimmering and arpeggiated synths and Adeline’s effortless and self-assured pop superstar vocals — and while the song sonically nods at Chaka Khan and Rufus‘ “Ain’t Nobody,”  Mary J. Blige’s “Be Happy,Patrice Rushen‘s “Feels So Real” and classic Chicago house music, it possesses a soulful and disco-like ecstasy.
 

New Audio: Up-and-Coming British Duo Gold Fir Releases Vibrant and Surrealistic Visuals for New Single “Sirens”

Gold Fir is a London-based electro pop act comprised of a rather mysterious duo known only as James and Mabel, and if you’ve been frequenting this site over the past few months, you may recall that that the duo have received attention across the blogosphere for a sound that draws from 80s synth pop, classic electronic dance music and classic course music; in fact, “Night Walk”, which was released earlier this year, reminded me quite a bit of a dance floor friendly meshing of George Michael‘s “I Want Your Sex,” Chaka Khan’s and Rufus‘ “Ain’t Nobody,” Chaka Khan‘s “I Feel For You,” and Nu Shooz’s “I Can’t Wait.”

The mysterious British duo end 2017 with their latest single “Sirens,” a track that the duo says is”about welcoming different aspects of yourself to the dance floor,” sounds as though the duo was drawing from the likes of Soul II Soul’s “Back to Life” and “Get A Life,” Black Box’s “Everybody Everybody” and others as Mabel’s effortlessly soulful vocals are paired with a slick, house music-influenced production featuring layers of arpeggiated synths and twinkling keys, boom bap-like beats and an infectious hook. And while warmly nodding back at the sounds of the 80s and early 90s, much like contemporaries GL and others, they do so with a subtly modern take.

Directed by Tegen Williams, the recently released video continues the duo’s reputation for pairing their slick and soulful productions with strikingly surrealistic imagery — in this case, the viewer enters the mind of a music listener, and once instead we’re introduced to a pink-haired dancer, who first dances in an empty and darkened space before meeting some humanoid creatures. But much like its predecessor, there’s live action and hand drawn animation to evoke a dream-like state. As the duo says of the video treatment, “in life you’ve got to be whoever you want to be and the video was an ode to that sentiment; life is a dance like that.”

New Video: The Vibrant and Energetic Animated Visuals for Gold Fir’s “Night Walk”

Gold Fir is a London-based electro pop act comprised of a rather mysterious duo known only as James and Mabel, and the duo have quickly received attention both nationally and across the international blogosphere for a sound that draws from 80s synth pop, classic course and electro pop in a warmly familiar yet unique fashion, as you’ll hear on “Night Walk,” a track that will remind some listeners of George Michael‘s “I Want Your Sex,” Chaka Khan’s and Rufus‘ “Ain’t Nobody,” Chaka Khan‘s “I Feel For You,” and Nu Shooz’s “I Can’t Wait,” but with a boldly self-assured and downright sassy air and an infectious, club-friendly hook. 

Featuring a vivid mix of hand drawn two dimensional animation paired with digitally filmed environments, the recently released video for “Night Walk” specifically celebrates the vibrancy and energy of the night, as well of nightlife, while mischievously nodding at 80s pop videos, thanks in part to some incredible dance moves by the animated figures. 

Although currently comprised of a rather mysterious duo simply known as James and Mabel, the London-based electro pop duo Gold Fir have received attention both nationally and elsewhere for a sound that draws from 80s synth pop, classic house and electro pop — and in a way that feels warmly familiar, as you’ll hear on their latest single “Night Walk,” a track that will remind listeners of George Michael‘s “I Want Your Sex,” Chaka Khan’s and Rufus‘ “Ain’t Nobody,” Chaka Khan‘s “I Feel For You,” and Nu Shooz’s “I Can’t Wait,” but while being incredibly self-assured and coquettish. But perhaps just as important, the new single reveals a duo that can craft an infectious and bold hook within an even bolder track.