Tag: Daptone Records

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 days off, he would go into the studio and play guitar, recording a collection of material that he didn’t feel fit Soulive but wanted to release under his own name — Crushed Velvet and the Velveteers wound up becoming Evans’ guitar playing alter ego.

Crushed Velvet and the Velveteers’ latest single, the strutting “Good Thang” features an All-Star cast of funk and jazz musicians that includes 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 contributes sultry vocals to a Daptone meets Muscle Shoals-like anthem, complete with an enormous horn section and an even bigger hook.

“Crushed Velvet and the Velveteers is all about spontaneous creation for me and the very creative friends I get to call on to be a part of it. ‘Good Thang’ is a perfect example,” Evans says in press notes. “Initially I went into the studio, picked up the guitar and let whatever I was feeling come out without worrying about what kind of song it was.” He continues, “Before I knew it, I had a really great feeling bed of bass, drums and guitar laid down. From there, I asked my great friends Darby, Pete, Brian, Alex, Tucker, Jarad and Kim to take what I started and record exactly what inspired them to play. That is the best part of making music for me, creating something that will inspire people.”

Advertisements

The rising Lincoln, NE-based soul and funk act Josh Hoyer & Soul Colossal — Josh Hoyer (vocals, keys), Blake DeForest (trumpet), Mike Keeling (bass), Benjamin Kushner (guitar) Harrison El Dorado (drums) — formed back in 2012, and since their formation, the act, which features some of the Lincoln area’s most acclaimed musicians, has received attention nationally and internationally for a boundary crossing sound inspired by the sounds of Stax Records, Motown Records, Muscle Shoals, New Orleans, Philadelphia and San Francisco.

The Lincoln-based quintet have developed a reputation for being of the area’s hardest working bands: releasing four, critically applauded albums, including last year’s Do It Now, the members of the rising soul act have played hundreds of shows and have made several tours across the Continental United States and two European tours, opening for the George Clinton,Charles Bradley, Booker T. Jones, and Muscle Shoals Soul Revue and others.

Further cementing their reputation as one of the Plain States’ hardest working bands, the members of the Lincoln-based soul act will be releasing their Eddie Roberts-produced fifth later later this year through Color Red Records. “Hustler,” the album’s cinematic, third and latest single is a strutting bit of soul, prominently featuring Hoyer’s soulful, Tom Jones-like vocals, a commanding horn arrangement, a sinuous bass line, shimmering organ arpeggios and an enormous and rousingly anthemic hook. While seemingly possessing elements of The Payback-era James Brown, 70s Motown, Muscle Shoals, Daptone and Memphis soul in a seamless yet period specific synthesis, the upbeat track manages to be one-part much-needed proverbial kick in the ass and one part much-needed rallying cry for our unprecedented and uncertain moment, centered around the assuring yet forceful line “When the world wants you to sink or swim, I ain’t goin’ under.”

Things may be bleak right now but keep fighting y’all. There’s much hard and necessary work to be done.

 

 

 

 

 

 

 

 

 

 

Rachel Huggins is an emerging London-based singer/songwriter, soul and R&B artist, who has had a lifelong passion for music. Although some of her earliest musical memories are of performing at school and at church, her roots in music may have even earlier origins: “My mother had a dream whilst she was pregnant with me,” Huggins explains in press notes, “and in it, she says that she remembers me being a baby, running across a large room to a white piano, where I started playing it. Perhaps this is why they wanted me to learn piano, who knows?”

Throughout her studies, the emerging London-based singer/songwriter, and soul and R&B artist performed across town, eventually founding a gospel choir. While studying music business and production and sociology at the University of Westminster, Huggins began to form her identity as a singer/songwriter and musician — and as a performer, with a stint as a backing vocalist for Billy Ocean and singing the National Anthem for Nelson Mandela.

Since then, Huggins has been extremely busy: she has been a two-time finalist in the BBC’s Gospel Choir of the Year competition, featured as a backing vocalist for DJ Vadim and Sola Rosa — and she has played at Glastonbury Festival, Green Man Festival, Kendal Calling and Secret Garden Party, while finishing up a Masters of Arts in Culture, Language and Identity in Education at Goldsmiths, University of London.

Huggins’ forthcoming EP Keep Dreaming is slated for release later this year. Inspired by and grounded in gospel, soul and jazz, Huggins’ solo work is centered around tales of love and aspiration, with the hopes of lifting and inspiring listeners. The EP’s first single “Take Control” was written after she made the decision to leave a stressful and unfulfilling day job to pursue her dreams. “It’s about acquiring freedom to express without inhibition,” the emerging London-based singer/songwriter says in press notes. “Sometimes we care so much about the thoughts of others we lose ourselves and momentarily become what others want or expect whilst suppressing who we really are.  I choose to fight and encourage people along the way.”

Keep Dreaming‘s second and latest single “Feels so Good” is a sultry, mid-tempo ballad, centered around a classic soul-inspired arrangement that’s roomy enough to let Huggins’ easygoing yet self-assured and soulful vocals guide the song forward. At its core, the song is a sweet and swooning, old-fashioned love song that sounds as though it could have been released during Motown‘s heyday — or on Daptone Records. “‘Feels So Good’ is an old-fashioned love story,” the rising London-based artist explains in press notes. “It’s an expression of love similar to that which would have been once shared in a love letter. Sometimes we admire people from a distance, and the other person never really knows how valued they are to someone else. If someone makes you feel good, tell them!”

 

 

 

New Audio: Monophonics Release a Swooning and Shimmering Ballad

Since their formation, the Bay Area-based soul outfit Monophonics — Austin Bohlman (drums), Ian McDonald (guitar, backing vocals), Ryan Scott (trumpet, backing vocals, percussion), Max Ramey (bass) and Kelly Finnigan (lead vocals, keys) –have developed an approach that continues in the classic and beloved tradition of Stax Records, Muscle Shoals, Daptone Records and Dunham Records: much like their influences, the Bay Area soul outfit’s material is centered by an incredibly cinematic sound that draws heavily from classic soul, heavy funk, psych rock  recorded on vintage analog recording gear. This is paired with a healthy amount of old-fashion woodshedding, crafting and McDonald’s and Finnigan’s late night overdubs and studio work. “We’re from the same school as the producers from the studios we love. We use the tools that we have to make the best records we can,” the band says in press notes. 

Monophonics’ third full-length album It’s Only Us is slated for a March 13, 2020 release though Colemine Records. While the album will further cement their long-held reputation for being an act that’s keen to creating and playing a heavier and edgier version of classic soul, and for arguably being one of the Bay Area’s best classic soul-inspired acts, the album reportedly is a reflection of what the band sees as the current, troubling direction of our world. Thematically, the album touches upon much-needed messages of unity in a fractious and divisive world, strength, resilience and acceptance. Also, sonically, It’s Only Us reportedly finds the rising soul act gently refining their signature sound with a healthy dose of new and warmer textures. 

Last year, I wrote about “Chances,” It’s Only Us’ lush and uptempo bit of two-step inducing soul that sounds like a crate digger’s dream of stumbling across some obscure and dusty Northern soul or classic American soul from the mid 60s. But at its core, the song warned empathetic lovers to think twice about giving that straying lover another chance, making the song an aching and age-old tale of the difficulties of saying goodbye to a no-good lover — even when it’s absolutely necessary.  It’s Only Us’ second and latest single, album title track “It’s Only Us” is a lush and swooning track, centered around an achingly gorgeous brass line, shimmering keys and guitars, a sinuous bass line and Finnigan’s soulful and vulnerable crooning — and while being both subtly psychedelic and cinematic in a way that recalls Curtis Mayfield, Issac Hayes and others, the song, as the band’s Kelly Finnigan explains “is about the first time you tell someone you love them. It’s that moment in life so many of us have had where we make ourselves our most vulnerable. While on the outside, it has the qualities of a traditional love song, underneath it is an anthem for humanity. Right now, we are witnessing a time where so many people feel polarized and there is a divisive mood in the country. inside the story is a message of unity, trust and acceptance that goes beyond falling in love.” 

Earlier this year, I wrote about Charleston, SC-born, New York-based singer/songwriter and guitarist Kyle Lacy, and with the release of the Squeeze meets Daptone Records-like “Hangin On,” the up-and-coming Charleston-born, New York-based singer/songwriter and guitarist established a sound that draws from vintage rock and soul. Interestingly, Lacy’s latest single, the first official single off his forthcoming debut full-length debut Bad Days is the uplifting “Believe In Tomorrow” finds Lacy digging deep into the rock and soul sounds of his previous Dala Records single, but while finding his song leaning heavily towards Mavis Staples/The Staple Singers-like spirituals. Produced by Dala Records founder Billy Austik, best known for his work with Charles Bradley, Sharon Jones, Mark Ronson, Lacy’s latest single was written and recorded in just one day, while utilizing the old school, analog production approach the label has developed a reputation for.

Interestingly, the forthcoming full-length album reportedly finds Lacy delving deeply into soul and gospel — while affording the up-and-coming singer/songwriter much more freedom. “Now, I don’t have to think in terms of, ‘will people dance to this in a bar’, but I can actually say to myself, ‘would I listen to this song?’” Lacy says in press notes. Along  with that came a great deal of artistic and creative growth — in particular, the sessions that produced “Believe In Tomorrow” were the most formative for him. “It felt like we were all stepping out of the shadow of our fears, and collectively trying to tell a story of hope.”

 

 

 

 

 

Since their formation, the Bay Area-based soul outfit Monophonics — Austin Bohlman (drums), Ian McDonald (guitar, backing vocals), Ryan Scott (trumpet, backing vocals, percussion), Max Ramey (bass) and Kelly Finnigan (lead vocals, keys) –have developed a approach that continues in the classic and beloved tradition of Stax Records, Muscle Shoals, Daptone Records and Dunham Records: an incredibly cinematic sound that draws from classic soul, heavy funk, psych rock and classic American song craft, recorded on vintage analog recording gear. Along with that there’s a healthy amount of old-fashioned woodshedding and McDonald’s and Finnigan’s late night overdubs and studio work. We’re from the same school as the producers from the studios we love. We use the tools that we have to make the best records we can,” the band says.

Simultaneously known as an act that’s keen to create a heavier version of classic soul, and as one of the best contemporary purveyors of the classic soul sound by those in the know, the Bay Area-based act’s  third album It’s Only Us is slated for release next year through Colemine Records. Reportedly, the album is a reflection of what the band sees as the current direction of the world while thematically touching upon messages of unity, strength, resilience and acceptance. Sonically, the album finds the band gently refining their signature sound with a healthy dose of new and warm textures.

“Chances” It’s Only Us‘ first single is a lush and uptempo bit of two-step inducing soul that’s one part deep, crate digging Northern soul and classic American soul, centered around a propulsive drumming, a sinuous bass line, fluttering vibraphone, shimmering guitar, bold and lustrous horns. Out in the front of the mix, Finnigan and background vocalists the Soul Mates sing lyrics warning empathetic lovers to think twice about giving that straying lover another chance, making the song an aching and age-old tell off about the difficulties of saying goodbye — even when it’s necessary.