Tag: Jacksonville FL

The Jacksonville, FL-based Salsa and Afro-Cuban collective LPT is comprised of a cast of local scene vets, including Josué A. Cruz (lead vocals). Milan Algood (timbales, vocals), Angel Garcia (keys, vocals), Mike Emmert (baritone sax), Bryant Patterson (trombone), Jonah Pierre (bongo and bell), Stan Piper (bass), Juan Carlos Rollan (tenor sax, vocals), JP Salvat (congas) and Steve Strawley (trumpet). Initially forming with the mission of keeping Salsa Dura (Hard Salsa) and Descarga Salsa alive, the act have quickly become ambassadors of Salsa and Afro-Cuban music in the Southeast. Along with that, the band has managed to share the diversity of the area with a new, young audience while allowing the band’s grizzled vets an opportunity to play old school-inspired sounds.

The band’s full-length debut Sin Parar is slated for a January 2020 release, and the album reportedly finds the band capturing the high energy of their live set while featuring their thought-provoking take on hard salsa. Interestingly, the album’s first single, album title track “Sin Parar” — which translates into English as “non-stop” is a Fania Records-like dance floor friendly song that is centered around lyrics that encourages listeners to start looking at their world critically. 

 

“The inspiration for the single is the feeling we all get from the machine,” according to the band’s Josué A. Cruz. The Machine as Cruz explains is a metaphor for life, work. tech and family going non-stop. “As a band,” Cruz adds, “we decided that if the machine is going to march on without stopping, then so are we. It’s almost innate in the metaphor that you have to keep marching on if the machine is marching on. It’s the only way to deal with the grinding of the gears and nerves.”

The band concludes, “Salsa music, and Latin music as a whole, is easily characterized as simple party music with whimsical lyrics, and there is a place for that. Yet, there is a rich tradition of music with substance in our genre. Music created on the street is going to have something to say about said street. We hope to humbly add our fingerprint to the thought-provoking canon.”

 

 

 

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New Video: North Carolina’s Tracy Shedd Releases a Playful Stop Animation Visual for “Kissing and Romancing”

With the release of her five previous albums through labels like Teen Beat, New Granada Records and Devil In The Woods and stints in Band & The Beat, the Jacksonville, FL-born, Wilmington, NC-based singer/songwriter and guitarist Tracy Shedd has developed a reputation for being a musician’s musician, whose sound and approach has been compared to the likes of Alvvays, Belle & Sebastian, Liz Phair, My Bloody Valentine, Snail Mail, Sonic Youth and countless others.  

After Sonic Youth’s Steve Shelley sit in on drums during her last US tour, Shedd began writing the material, which would comprise her forthcoming album The Carolinas in her new home of North Carolina. The album reportedly finds Shedd drawing upon her indie rock roots with some of her electro pop experiences with Band & The Beat — and is arguably some of the most playful material she’s written and recorded to date. The album’s first single is the coquettish fuzz pop anthem “Kissing and Romancing.” Centered around fuzzy power chords, a big infectious hook and a decidedly lo-fi production, the song manages to recall 90s grunge and fuzz pop — Liz Phair’s “Supernova” immediately comes to mind; but with a playful, coquettish air. 

The recently released video features stop-motion animation of a wooden robot dancing and courting a blue alien. And while drawing some influence from The White Stripes “Fell in Love with a Girl,” the video, much like the song has a playful air. 

Shedd’s latest album, The Carolinas is slated for a September 20, 2019 digitally through Fort Lowell Records and on vinyl through Science Project Records. 

Over the bulk of this site’s almost nine-year history, I’ve written quite a bit about JOVM mainstay Charles Bradley. The late Jacksonville, FL-born, Brooklyn-based soul singer/songwriter led a remarkable life, overcoming unimaginable adversity, eventually appearing in two documentaries, Charles Bradley: Soul of America and the Daptone Records live documentary, Living on Soul filmed during the 2014 Daptone Records Soul Revue residency at the legendary Apollo Theater, and four full-length albums, 2011’s No Time For Dreaming, 2013’s Victim of Love, 2016’s Changes, and last year’s posthumously released Black Velvet.

As you may recall, in late 2016, Bradley faced what would be one of the greatest challenges in a lifetime filled with challenges. A stomach cancer diagnosis during the fall forced him to cancel a busy touring schedule to support Changes. Weakened by months of chemotherapy, facing a potentially life-threatening surgery and confronting his own mortality, Bradley stepped into a home recording studio in Queens and spontaneously created “Lonely as You Are.” Featuring a looping piano sequence, shuffling drumming and gently strummed guitars, the track features Bradley’s imitable and achingly soulful vocals speaking and singing lyrics that express his profound loneliness, the tacit awareness of his impending mortality, his hope to be reunited with his mother and grandmother in heaven and his hope to leave something that connects with fans and others once he was gone. While the song was centered around a sparse instrumental arrangement of The Avett Brothers‘ Seth Avett (guitar) and Mike Marsh (drums) and co-producers James Levy and The Avett Brothers and Langhorne Slim‘s Paul Defigilia (bass, piano and organ and co-production), the track manages to be a great example of Bradley’s powerfully earnest soulfulness — and a comforting plea to other lonely souls out there.

In contrast to the tearjerking “Lonely as You Are,” “Lucifer,” the second song from that last recording session is a classic, joyful Charles Bradley love song with a soaring string arrangement; but unlike his previously released material, the song focuses on both the spiritual and physical — of a sustaining love that transcends time and all things. While being a bittersweet track because of his death shortly after the song’s recording, it’s a fitting farewell from one of this generation’s most sincere and heartfelt singer/songwriters.

 

 

 

Over the bulk of this site’s almost nine-year history, I’ve written quite a bit about JOVM mainstay Charles Bradley. And as you may recall, the late Jacksonville, FL-born, Brooklyn-based soul singer/songwriter led a remarkable life, overcoming unimaginable adversity, eventually appearing in two documentaries, Charles Bradley: Soul of America and the Daptone Records live documentary, Living on Soul filmed during the 2014 Daptone Records Soul Revue residency at the legendary Apollo Theater, and four full-length albums, 2011’s No Time For Dreaming, 2013’s Victim of Love, 2016’s Changes, and last year’s posthumously released Black Velvet.

In late 2016, Bradley faced what would be one the greatest challenges in a lifetime filled with challenges. A stomach cancer diagnosis earlier during the fall forced him to cancel a busy touring schedule. Weakened by months of chemotherapy, facing a potentially life threatening surgery and confronting his own mortality, Bradley stepped into a home recording studio in Queens and spontaneously created “Lonely as You Are.” Featuring a looping piano sequence, shuffling drumming and gently strummed guitars, the track features Bradley’s imitable and achingly soulful vocals speaking and singing lyrics that express his profound loneliness, the tacit awareness of his impending mortality, his hope to be reunited with his mother and grandmother in heaven and his hope to leave something that connects with fans and others once he was gone. While the song is centered around a sparse instrumental arrangement of The Avett Brothers‘ Seth Avett (guitar) and Mike Marsh (drums) and co-producers James Levy and The Avett Brothers and Langhorne Slim‘s Paul Defigilia (bass, piano and organ and co-production), the track manages to be a great example of Bradley’s powerfully earnest soulfulness — and a comforting plea to other lonely souls out there. But goddamn it, it’s an also achingly sincere tear-jerker.

The song ends with Bradley saying “I love you. And this is Charles Bradley. I hope this one days get out to the world.” His hope has been realized, and while achingly sad, it’s a reminder of how a great artist’s work can resonate long after they’ve left.