Tag: Fleetwood Mac

New Video: JOVM Mainstay Meshell Ndegeocello Releases Tender and Joyful Cover of Ralph Tresvant’s “Sensitivity”

Now, if you’ve been frequenting this site over the past couple of years, I’ve written quite a bit about the critically applauded, JOVM mainstay Meshell Ndegeocello– and as you may recall, the singer/songwriter, rapper and bassist was born Michelle Lynn Johnson in Berlin, Germany and was raised in Washington, DC.  When she turned 17, she adopted the name Meshell Ndegeocello, with the surname, as she has explained meaning “free like a bird in Swahili.”

In the late 80s, Ndedgeocello gigged around DC’s go-go circuit, playing with a number of local acts including Prophecy, Little Bennie and the Masters, and Rare Essence before unsuccessfully trying out for Living Colour’s bassist spot, after Muzz Skillings left the band. Deciding to go solo, Ndegeocello eventually caught the attention of Madonna, who signed the singer/songwriter, rapper and bassist to her Maverick Records. Most readers will remember her commercially successful collaborative coverof Van Morrison‘s “Wild Night,” with John Mellencamp, a single that peaked at #3 on the BillboardCharts in 1994 and “If That’s Your Boyfriend (He Wasn’t Last Night)” peaked at #73 later that year. Adding to a rapidly rising profile, she collaborated with the legendary Herbie Hancock on a track for Red Hot Organization’s AIDS awareness, tribute compilation Stolen Moments: Red Hot + Cool, which was named Time Magazine‘s “Album of the Year.”  Her coverof Bill Withers‘ “Who Is He (And What Is He to You)” was a #1 Dance Hit in 1996 and was briefly featured in the major motion picture Jerry Maguire, and she landed Dance Top 20 hits with “Earth,” “Leviticus: Faggot,” and “Stay.” Along with that she collaborated with Madonna, playing bass on “I’d Rather Be Your Lover,” and contributing a verse at the last minute, after Tupac Shakur had criminal charges filed against him. Ndegeocello has also collaborated with Chaka Khan, rapping  on “Never Miss the Water,” a single that landed #1 on Billboard‘s Dance Club Charts and peaked at #36 on the Hot R&B/Hip-Hop Singles Chart. Additionally, Ndegeocello has collaborated with the likes of Basement Jaxx,Indigo Girls, Scritti Politti,The Blind Boys of Alabama, The Rolling Stones, Alanis Morrissetteand Zap Mama.

Throughout her lengthy career, Ndegeocello has managed the rare feet of achieving commercial success while arguably being one of the most uncompromising and iconoclastic artists of the past 25 years — all while being credited as being at the forefront of the neo-soul sound, thanks in part to a genre defying and difficult to pigeonhole sound that draws from hip-hop, classic soul, jazz, rock, reggae and singer/songwriter pop. Over the past few years, Ndegeocello has been rather busy — she wrote and composed a musical influenced by James Baldwin’s The Fire Next Time, titled Can I Get a Witness?: The Gospel of James Baldwin and released a gorgeous tribute album to the legendary Nina Simone, which featured collaborations with fellow JOVM mainstay Cody ChesnuTT and others.

Ventriloquism, Ndegeocello’s later album was released earlier this year, and the album finds the renowned singer/songwriter and bassist covering songs by  TLC, Janet Jackson, Tina Tuner, Prince and others, who have been influential to her and her work — but with her unique take. As the renowned singer/songwriter and bassist explains in press notes, “Early on in my career, I was told to make the same kind of album again and again, and when I didn’t do that, I lost support. There isn’t much diversity within genres, which are ghettoizing themselves, and I liked the idea of turning hits I loved into something even just a little less familiar or formulaic. It was an opportunity to pay a new kind of tribute.” Ventriloquism’s first single was a coverof Force MD‘s smash hit “Tender Love,” that found Ndegeocello turning the slow-burning, 80s piano ballad into a folksy, Harvest-era Neil Young/Fleetwood Mac track, complete with shuffling drumming, twinkling Fender Rhodes and harmonica. Though she eschews some of the song’s cheesiness, which makes it endearing in its own right, Ndegeocello’s cover retains the song’s earnestness — pointing out that a well-written pop song can reach for something downright timeless. 

The album’s latest single is a cover of Ralph Tresvant’s “Sensitivity,” that briefly nods at Sting’s “Englishman in New York,” as it’s centered around loose, bluesy guitar chords, shuffling drumming and a New Orleans brass band-like bridge — and while retaining the song’s sultry nature, Ndegeocello manages to pull out and further emphasize the song’s tenderness.  Much like its predecessor, the new single continues Ndegeocello’s commentary on society’s narrow expectations on what music created by and performed by black artists should sound like and be like. 

Directed by the Cass Bird, the recently released video for “Sensitivity ” was specifically released in conjunction with the end of Pride Month — and in our dark and uncertain age, the video is a much-needed burst of joy and humanity, as the video was specifically cast to focus on faces, body types and identities that are less conventional, less celebrated and often misunderstood, capturing these people at their most vital, most joyful and most human — whether dancing, tenderly embracing, kissing and loving. Certainly, the world would be a much better place if there was more love and more gentle and human moments. 

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New Video: Wild Moccasins Release Symbolic Performance-based Visuals for Aching New Single “Longtime Listener”

Earlier this year, I wrote about the Houston, TX-based indie rock/indie pop act Wild Moccasins, and as you may recall, the act which is led by its founding duo Zahira Gutierrez (vocals, keys) and Cody Swann (guitar, vocals), and features Avery Davis (drums) Nicholas Cody (bass) can trace their origins back to 2007 when its founding duo started writing songs together, about a year into their romantic relationship. And although Wild Moccasins has gone through a number of lineup changes throughout its history, the band initially wrote and recorded indie rock-inspired work centered around dance pop-like guitar lines and tight vocal harmonies; however, with the release of 88 92, the Houston-based quartet had begun to increasingly incorporate synths and other New Wave influences into their work — and that has continued with their recently released Ben H. Allen-produced Look Together.

As the members of the band note, Allen inspired a much different approach to their writing and recording process, and the result is an album that finds the band blending the guitar driven elements of their early work with 80s and 90s synth pop and New Wave; but unlike their previously recorded material, the album thematically, lyrically and emotionally is centered around the the volatility, heartache and confusion of the dissolution of a longtime romantic relationship — in the case, the romantic relationship between Gutierrez and Swann. But along with that, the album focuses on the difficulties of repairing a relationship after a breakup, of fresh starts and shedding past insecurities.

As both Gutierrez and Swann note, the breakup of their romantic relationship and its immediate aftermath were extremely difficult as it occurred as the band was in the middle of a lengthy tour. They would spend the countless hours driving from city to city in the tour van in silence; on stage they’d painfully stare each other down; and they’d exchange exaggerated and embittered he-said-she-saids through songs. Although countless bands with a romantic couple at their center have split up, the former lovers decided to choose a way to reconcile their differences by working towards a common musical goal. Songwriting has been engrained within Gutierrez and Swann’s relationship and while being emotionally vulnerable with a former romantic partner was initially difficult, they also found that it helped clear the air between them. “I think we look back on that time and take some comfort in knowing that we went through that together,” says Swann. “It needed to happen in order for us to have this resolve.”“Yeah, it needed to happen,” Gutierrez adds. “Now, when I sing the songs, I find myself breathing a sigh of relief.”

“No Muse,” Look Together’s second single was a slickly produced, shimmering New Wave-like song with an infectious, arena friendly hook — but underneath the self-assuredness of its performance, the song bristles with the bitter and aching hurt of someone who realizes that they’ve been used, and that they’ve had enough of it all. As Gutierrez explains “‘No Muse’ is about feeling like men use women as muses in the wrong context. A lot of women have had the experience of being taken advantage of or had men in power try to take control of what they do, so this song encourages women to be their own muses. Because of what the song represents to me, I decided it was best for me to direct the video and sought out a female cinematographer (Rachel Bays) to shoot it in order to remove any sort of male gaze. I felt it was important to see the video through the eyes of a woman.”

“Longtime Listener,” Look Together’s latest single while being a mid-tempo ballad continues in a similar vein as its predecessor as its centered around a simmering New Wave-like arrangement and soaring hooks; however, emotionally the song focuses on the overwhelming and confusing push and pull of emotions in the immediate aftermath of a longtime breakup, as well as the lingering ghosts of memories, smells and so on. But much like Fleetwood Mac’s “You Can Go Your Own Way,” the song is a bit of a kiss off — in which the song’s narrator is busy putting on a brave face. And while being an aching ballad on what once was and can’t be again, and a bit of a kiss off, there’s the subtle reminder that there was this amazing connection that the narrator once had that’s become part of a messy but well-lived life — and perhaps just as important, that she will move forward and love again.

Directed by the band’s Zahira Gutierrez and Cody Swann, the video begins with Gutierrez sitting impatiently by the phone before answering it. Her bandmates continually hand her phones that she picks up, answers and hangs up and at her most overwhelmed,  Gutierrez and her similarly dressed bandmates go off to perform the song. It’s surreal but it captures the song’s ache and bitterness.

New Video: Introducing the Jangling and Anthemic Guitar Pop of Australia’s BATTS

Tanya Batt is a Melbourne, Australia-based singer/songwriter, multi-instrumentalist and creative mastermind behind the recording project BATTS — and with release of last year’s 62 Moons EP, Batt quickly received attention across the blogosphere for a sound that has drawn comparisons to Angel Olsen, Courtney Barnett, Mazzy Star, Sharon Van Etten and others. Adding to a growing international profile, Batt received airplay from BBC Radio 1, KCRW and Triple J.

Building upon a growing profile, Batt toured her native Australia with Didirri, and she recently played her first UK shows with Cub Sport as part of the Communion Music tour; but more important, Batt’s newest single is a jangling bit of guitar pop that manages to nod at Fleetwood Mac-like AM radio rock, complete with an anthemic rock but underneath the easy-going and self-assured vibes of the song is an urgent desire to change things for the better — although in a lot of cases that’s impossible. After all, the human condition is to be endlessly disappointing. There’s also this desire to go off and colonize someplace else, and start over with different rules — that maybe it’d better on Mars, Jupiter or someplace else. 

Directed by Dyllan Corbett, the recently released video for “Shame” stars Tanya Batt, Olaf Scott, Daniel Moulds, Nkechi Anele, Melanie Scammell, Megan Kent and Alice Kent, and as Corbett explains of the video treatment “Thematically, we were after a sliding door effect of having two separate outlooks/moods and the outcome that each one has on your happiness.” 

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Dan Sultan is an acclaimed Fitzroy, Australia-born, Melbourne, Australia-based singer/songwriter and guitarist, who started playing guitar when he was four and wrote his first song when he turned 10. As the story goes, his mother’s friend gave the young Sultan an old electric guitar, and he began playing gigs at local pubs. In 2000, Sultan met a fellow singer/songwriter and guitarist Scott Wilson at a Williamstown, Australia pub and the duo began writing songs together. As Wilson recalled in an interview “What struck me at first was that he [Sultan] could play piano and guitar, and he was a great foil for what I was doing . . . After a while playing together, he said, ‘Can I Sing this one?’ I said, ‘Do you know the words?’ . . . [he had a] mighty voice. A lot people can play guitar . . . not many can sing like that.”

Sultan’s  Scott Wilson-produced, full-length solo debut, the genre-defying Homemade Biscuits was released in early 2006 and consisted of tracks written by Wilson or co-written by Sultan and Wilson, and a featured number of local musicians and collaborators, including Lazare Agneskis, Neil Gray, Elijah Maiyah, Lochile McKlean and Ben Wicks. Sultan’s debut also featured two attention grabbing tracks — “Your Love Is Like a Song,” which won a 2007 Deadly Award for Single Release of the Year, and “Rosyln,” a song Sultan wrote about his mother, who was a member of the Aboriginal “stolen generations,” which he performed during 2007’s National Day of Healing concert. Adding to a growing profile that year, Paul Kelly invited Sultan to record a cover of Kev Carmody’s “This Land Is Mine” for a compilation tribute album of Carmody’s work titled Cannot Buy My Soul — and with a backing band of Eugene Ball (trumpet), Ben Gillespie (trombone), Joshua Jones (bass), Peter Marin (drums), Ash Naylor (guitar) and Gina Woods (keys), Sultan and company played Australia’s festival circuit over the next two years or so, including set at the Sydney Festival and the Queensland Music Festival.

Sultan’s sophomore album 2009’s Get Out While You Can was a massive, commercial success as it charted on the ARIA Albums Chart Top 100, eventually reaching #1 on the independent Australian charts and was a Triple J featured album. Along with that, Sultan won ARIA Music Awards for Best Male Artist and Best Blues & Roots Album, and Australian Independent Records Awards for Best Independent Artist and Best Independent Blues & Roots Music Music.

In early 2014, Sultan opened for Bruce Springsteen‘s Melbourne and Hunter Valley shows during his Australian tour, which Sultan promptly followed up with the release of his third full-length album Blackbird, an album that reached #4 on the ARIA Albums Charts and spent 13 weeks in the Top 50 — and the album won a Best Rock Album Award at that year’s ARIA Awards. Building upon an impressive year, Sultan released the Dirty Ground EP, which reached the ARIA Albums Chart Top 100. Sultan’s fourth album, 2017’s Jan Skubiszewski-produced Killer was nominated for three ARIA Awards — Best Male Artist, Best Rock Album, and Best Independent Release.

Interestingly, Sultan’s soon-to-be released Killer Under a Blood Moon was recorded over the course of four days and while it continues Sultan’s commercially and critically successful collaboration Skubiszewski, the EP finds the duo collaborating with some of their country’s brightest and talented, up-and-coming artists, including  A.B. OriginalCamp CopeMeg Mac and Gang of Youths‘ Dave Le’aupepe to reinterpret a series of tracks from Sultan’s fourth album as a way to give his material new bodies, new ways of being while having a good time doing so. Now, as you may recall, last month I wrote about Sultan’s reworking of “Drover,” which featured Gang of Youth’s Dave Le’aupepe taking over vocal duties on a swaggering, arena rock-friendly blues centered around power chords, stomping beats, a looped choral sample and a muscular and anthemic hook reminiscent of The Black Keys.

The EP’s latest single is a reworking of Killer‘s album title track “Killer” that features Meg Mac — and while the original is a shuffling yet anthemic rock song with an infectious hook, the EP’s rework turns the song into a Fleetwood Mac/Tom Petty and Stevie Nicks-styled duet that retains the hook and melody but adds a sultriness to the song’s heartfelt vibe.

 

 

 

New Video: The Moody Sounds and Visuals for Blake Brown and The American Dust Choir’s “Up in Arms”

Blake Brown is a Denver, CO-based singer/songwriter, who after participating in a number of collaborative projects, founded Blake Brown and The American Dust Choir in 2013 with the idea that it’d give him the flexibility of playing solo while collaborating with a revolving cast of friends, who could play whenever they were able to do so; in fact, the revolving cast behind The American Dust Choir has featured members of The Fray, The Films and Tennis. However, after three EPs and countless live shows, the band has settled on a permanent lineup featuring Brown, his wife Tiffany Brown, and longtime friends Jason Legler, Adam Blake, and Trent Nelson.  

The Joe Richmond-produced Long Way Home, Blake Brown and The American Dust Choir’s full-length debut was released earlier this year and the album while further cementing the band’s reputation for a sound that meshes indie rock with folk/Americana paired with complex melodies and heartfelt lyrics based around experiences within Brown’s personal life — in particular, heartbreak, deception, reflection, growing up and becoming adult and so on. Adding to a growing profile, the band kicked off the release of their debut with an official SXSW showcase, in which they opened for Keith Urban. 

“Up in Arms,” Long Way Home’s latest single is a twangy bit of indie rock that nods at Fleetwood Mac and 70s AM rock, complete with a rousingly anthemic hook and some impressive guitar work and while being unhurried, the track manages to be tinged with the bittersweet memories and experiences within a relationship; in fact, the recently released video is shot with superimposed double exposures, meant to evoke the duality between the inner and outer worlds of its protagonists. 

New Video: Up-and-Coming British Act ISLAND Release Gorgeously Cinematic Visuals for Soaring Album Single “Horizon”

ISLAND, an up-and-coming London-based act can trace their origins to when vocalist Rollo Doherty’s solo, acoustic, bedroom project expanded to a fully fleshed out band with the addition of Jack Raeder (guitar), James Wolfe (bass) and Toby Richards (drums)  — and with the release of two critically applauded EPs, the band have quickly developed a reputation for crafting atmospheric yet anthemic, arena rock friendly material largely inspired by the likes of Fleetwood Mac, Kings of Leon, The War On Drugs, Grizzly Bear and others, and for must-see live see that they’ve honed through some relentless touring of the UK and European Union over the course of 2017.

Building upon their growing profile, the London-based quartet’s highly-anticipated self-produced, full-length debut Feels Like Air reportedly continues their long-held DIY approach to the creative process while further cementing their reputation for crafting incredibly self-assured earnest and anthemic songs; in fact, album singles “Try,” “The Day I Die,” and “Ride” have amassed a total of over 2.6 million Spotify steams — with the band earning nearly half-a-million monthly listeners.  Interestingly, the album’s latest single “Horizon” is a slow-burning, atmospheric track with enormous, arena friendly hooks reminiscent of Unforgettable Fire and Joshua Tree-era U2 and while self-assured, it reveals a band that’s managing the difficult balance of an ambitious desire to rock everyone’s pants off with a thoughtful and deliberate attention to mood and craft.

Directed by Claes Nordwall, the recently released, and incredibly cinematic video for “Horizon” follows the members of the band driving through the snowy Swedish countryside, with each individual member broodingly lost in their thoughts. And as the members of the band explain in press notes, the video “captures a key theme of the album as a whole — the idea of a passenger drifting through different dreams on a journey. We wanted the video to reflect the open soundscape, we feel the song creates, so we jumped at the chance to shoot in the vast Swedish countryside. Claes took us back to his snowy hometown for the video, which had an amazing dreamlike feel that really suited the ideas we wanted to convey.

New Video: Sunflower Bean Releases Cinematic Visuals for Shimmering, 70s Rock-Inspired Single “Twentytwo”

Over the past couple of years of this site’s history, I’ve written quite a bit about the Brooklyn-based psych rock/indie rock trio  Sunflower Bean. And as you can recall, the band, comprised of founding duo Nick Kivlen (guitar, vocals) and Jacob Faber (drums) with Julia Cumming (bass, lead vocals) can trace their origins to when they Kivlen and Faber were members of renowned, local, indie rock act Turnip King — and at the time the band’s founding duo had been spending a great deal of time away from their then-primary project jamming together, before deciding that they should start their own project. Cumming, who was then a member of Supercute! with Rachel Trachtenburg, was recruited by Kivlen, who had known her through mutual friends.

The band quickly became a buzz-worthy act with a run of attention grabbing, critically applauded sets during 2014’s CMJ Festival, which they promptly followed with a series of shows across town; but with the release of that year’s Rock & Roll Heathen EP and 2015’s Show Me Your Seven Secrets EP, which featured singles “Tame Impala” and “2013.” the band quickly rose to national and international prominence. Adding to a growing profile, the Brooklyn-based psych rock trio toured across the US and the UK both as a headliner and as an opener for  Wolf Alice, Best Coast and The Vaccines. They then completed a breakthrough and whirlwind period with the 2016 release of their Matthew Molnar-produced debut effort Human Ceremony, which was released to critical praise. 

After spending the better part of 2016 with a roughly 200 date world tour, the members of the band initially planned to take a well-earned, extended break; however by mid-December. the trio were in Faber’s Long Island basement with song ideas that eventually became their highly-anticipated Jacob Portrait and Matt Molnar-co-produced sophomore effort, Twentytwo in Blue, which is slated for a March 23, 2018 release through Mom + Pop Records, which coincidentally is 22 months after the release of their full-length but and when all of the members of the band have turned 22. 

At the end of last year, the trio released “I Was A Fool,” a single that revealed a radical change in sonic direction with the band’s sound leaning heavily towards the classic, 70s rock of Fleetwood Mac.  As the band’s Nick Kivlen explained in press notes at the time, “‘I Was A Fool’ is one of those songs that seemingly crept up from nowhere and into our practice space. it was a special moment between the three of us, Julia and I both improvised the lyrics. It feels far longer but it’s been nearly two years since ‘we’ve put new music into the world. I think this song is a good example of how we’ve grown as a band, while still staying true to the band that first played together back in high school.”

Released earlier this year, “Crisis Fest,” Twentytwo in Blue’s, first official single found the band tackling more sobering topics with the song directly focusing on the uncertain and politically volatile period in which it was written — all while nodding upon glam rock — in particular, Bay City Rollers‘ “Saturday Night” and Ace Frehley’s “Back in the New York Groove” as the song was an stomping and anthemic call to action for young people to start getting involved and making the world right — or no one will have a chance. The album’s latest single “Twentytwo” follows in the vein of “I Was A Fool,” as it’s a breezy, mid-tempo, 70s rock-inspired track that’s about fighting against society’s expectations of young women and generations of abuse by men in power, managing to be an incredibly timely track, considering the #metoo and #timesup movements; but it also focuses on the resilience and inner strength of young women. After all, while women shoulder the weight of the world, they manage to prevail. 

Directed by Olivia Bee, the recently released video for “Twentytwo” is the 29th installment of Urban Outfitter’s UO Music Video Series, and the video thematically focuses on the passing of seemingly innocent and certain youth into uncertain and ambiguous adulthood but while also subverting the expectations of young women — with  each of the video’s young women being bold, assertive.

New Video: JOVM Mainstays Geowulf Return with Moody and Cinematic Visuals for Shimmering Album Single “Sunday”

Throughout the course of the past 18-19 months months or so, I’ve written quite a bit about JOVM mainstays Geowulf, comprised of Noosa, Australia-born friends and collaborators, Star Kendrick and Toma Benjamin. And although the duo have known each other since they were teenagers, their musical collaboration began in earnest when Kendrick, who grew up in a musical home, started to pursue music seriously a few years ago, and enlisted the help of her old friend to flesh out her earliest demos.

After a string of successful, critically applauded singles including “Saltwater,” which received over 1 million Spotify streams and reached Hype Machine‘s top ten before landing at #4 on Spotify’s US Viral Charts; the Mazzy Star meets  Fleetwood Mac-like   “Don’t Talk About You;” the  Phil Spector meets Still Corners “Drink Too Much,” and the jangling, 60s girls group pop-inspired single “Hideaway,” the JOVM mainstays released their highly-anticipated Duncan Mills-produced, full-length debut, Great Big Blue last month.

Building upon the buzz of their incredible run of buzz worthy singles, the duo’s latest single “Sunday” is a gorgeous, slow-burning and cinematic bit of guitar pop, with a soaring hook that should immediately bring comparisons like Mazzy Star, The Smiths and others — while continuing a string of songs that pair dark and moody lyrics with upbeat sounds.  As the duo says in press notes, “‘Sunday’ is a favorite of ours in the album. It’s a little cruiser of a song meant to make you feel all the good things. Lyrically, it’s about feeling like Sunday is a pretty lonely day sometimes.”

The recently released video continues a string of gorgeously shot, swooning yet surreal fever dream-like visuals, which further emphasizes the bitter loneliness at the core of the song.