Tag: Otis Redding

 

Professionally known as Kaleta, Leon Ligan-Majek is a Benin-born, Brooklyn-based singer/songwriter, multi-instrumentalist, bandleader and producer, who leads the up-and-coming local, Afro-funk act Kaleta and Super Yamba Band. Although the project is relatively new to the scene, Ligan-Majek can trace his music career back to Lagos, Nigeria, where Ligan-Majek spent his teenaged years playing in local churches. Eventually, the Benin-born, Brooklyn-based signer/songwriter, multi-instrumentalist, bandleader and producer caught the attention of renowned juju pioneer King Sunny Ade. “I was at Church when I heard King Sunny Ade sound checking one block away. By the time church service was over Sunny Ade’s gig was in full gear,” Ligan-Majek says of his first encounter with King Sunny Ade. “I infiltrated the gathering, snuck into the front row to watch the show. At the strike of the last note, right before Sunny Ade disappeared I went between him and his body guard and told him point blank my desire to play guitar for his band. He invited me to his house. I went the next day with a cassette containing songs and guitar riffs I wrote with him in mind.”

Kaleta went on to spend several years in King Sunny Ade’s backing band, recording four albums with the Juju pioneer before leaving the band to join Afrobeat pioneer Fela Kuti and Egypt 80. Unsurprisingly, the Benin-born, Brooklyn-based singer/songwriter, multi-instrumentalist and producer learned how to fuse elements from an electric array of West African genres and styles — including highlife, juju, Afrobeat, Afro-funk and Afro-dance.

In 1991, Ligan-Majek relocated from Lagos to New York after Fela Kuti and Egypt 80  completed the North American leg of their world tour. And almost as soon as he set foot in New York, he wound up being the co-founder of two Afrobeat ensembles, Akoya Afrobeat and Zozo Afrobeat — and as a member those acts, he had shared stages with the likes of Jimmy Cliff, Yellowman, and Lauryn Hill. “Lauryn Hill was rehearsing in the same music complex when she heard my music from another room,” Kaleta recalls. “She stormed into Zozo Afrobeat’s rehearsal, and two weeks later, I was on tour with her playing guitar and traditional Beninese percussion. . . we performed about 45 dates all over the world.”

While Ligan-Majek’s chops suited him well to back some of biggest names in music, he had an irresistible drive to create his own unique work. He searched for a band of his own but he knew that he needed a perfect combination  — an irrefutable explosion of creative energy that came from a dedicated, like-minded group of musicians. Interestingly, Ligan-Majek credits his ambition and his vision to his older brother’s massive influence. Ligan-Ozavino Pascal was an obsessive music listener, with a passion for funk and soul. And as the story goes, Ligan-Ozavino Pascal occasionally weaponized his record collection to teach his younger brother discipline. When Kaleta misbehaved, his older brother would lock him in his room with a pile of records. The price of his freedom? A careful listen. “I had to submit to his huge love for music,” says Kaleta. “He introduced me to James Brown, Otis Redding, and other American, French and Cuban music.”

The Brooklyn-based Super Yamba Band, comprised of Daniel Yount (drums), Evan Frierson (percussion), Walter Fancourt (sax), Sean Smith (trumpet) have long been students and devoted fans of vintage West African, psychedelic Afro-funk. When they met Kaleta, who sang and played guitar over roots-rhythms while bbringing his infectious style to the project, things clicked. “I loved the way they stick together as a team,” says Kaleta. “Their exuberance. Their love for African music, notably Benin funk… I found out they were listening to my idols, too.” Between the members of the project, it became obvious that they stumbled upon something rare, exciting and in need of further cultivation and exploration. The members of Super Yamba Band had the skill and dedication that Kaleta had long sought for his solo work — and in turn, Kaleta brought the heard-earned wisdom from four decades as a professional musician that he was eager to share with bandmates. 

Since their formation, the band has spent the past couple of years honing their material and playing live shows across town and elsewhere, including an opening set last year for Niger-based Afro funk/Afro pop act Tal National and an appearance at last year’s Barbes and Electric Cowbell Records Secret Planet APAP Showcase. Interestingly, the band’s “Mr. Diva” was remastered and re-released earlier this year — and as the story goes, the band was so encouraged by the success at recreating their live sound in the studio, that they set out to record what would eventually become their forthcoming full-length debut Medaho.

 

Slated for a September 6, 2019 release through Ubiquity Records, Kaleta and Super Yamba Band’s full-length debut derives its name from the Goun and Fon word for “big brother,” “elder,””teacher” — and the album is dedicated to the memory of Kaleta’s brother Ligan-Ozavino, who died earlier this year. Sonically, the material finds the band unabashedly paying homage to its massive influences, including James Brown, Fela Kuti, Orchestre Poly-Rythmo, El Rego, The Funkees, among others — but interpreting their work, learning from it, deconstructing it when necessary, amplifying it, defying it and pushing it and the sound into the future.

Mèdaho‘s first single is album title track “Mèdaho.” Centered around a looping, wah-wah and other pedal effected guitar lines, a sinuous groove, propulsive percussion and Kaleta’s grunts and howls, the song manages to recall He Miss Road/Expensive Shit-era Fela Kuti, The Payback-era James Brown, as it possesses a similar grit and forcefulness — but unlike the period specific work that has influenced the track features a lysergic haze.

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Earlier this year, I wrote about J. Hacha De Zola, Rahway, NJ-born, Jersey City, NJ-based singer/songwriter and musician, who became a scientist and musician because of his father’s massive influence on his life. About a year within his Biochemistry, Ph.D. program, Hacha De Zola’s father died. Unfortunately, he had to quit school in order to support his mother and the rest of his family, but the situation presented him an opportunity to pursue his life long passion — music.

With the release of 2016’s Picaro Obscuro, the second of his two “urban junkyard” albums of that year, Hacha De Zola publicly insinuated that he might not continue on to make a third and that if he did, his plan was to “lighten up” the sound that he has previously described on some occasions as “boozegaze.” 2017’s Antipatico was the third album Hacha De Zola and his backing band had written and recorded in over two years — and with each successive album, Hacha De Zola increasingly found his own voice.

Hacha De Zola’s  John Agnello-produced fourth full-length album Icaro Nouveau is slated for a March 29, 2019 release through Caballo Negro Records and much like his previously released material, the New Jersey-born and-based singer/songwriter and his backing band employ his “reductive synthesis” method which involves,  “shooting the arrow and painting the bullseye around it.” Interestingly, the album’s material is also deeply influenced by the life and death of longtime collaborator, Ralph Carney, a saxophonist best known for working with the legendary Tom Waits. Carney not only served as a player but a spiritual guide and mentor for Hacha de Zola. “He was an integral part of this sound. He was my secret weapon,” Hacha de Zola says. “His horns were ever–present, as was his input. Not having him around for Icaro Nouveau was unsettling for me.”

Now, as you may recall, “On A Saturday,” found Hacha De Zola and his backing band drawing from old school barrio salsa but with a drunken wobble. Interestingly, Icaro Nouveau‘s latest single is the boozy and slow-burning blues, “Super Squeaky,” a track that sounds deeply indebted to Tom Waits and Bob Dylan among others.

I recently chatted with the Rahway-born, Jersey City-based singer/songwriter in an extensive and thoughtful email exchange about his science background, his eclectic influences, the “Urban Junkyard” sound, Ralph Carney’s influence on him and his work, the new single and much more. Check it out. 

 

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Photo Credit: Robin Souma

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WRH: If I remember it correctly, your father had a massive impact on your life, as he had a key role influencing your decision to study Biochemistry – and that music has been a lifelong passion for you. Have your studies influenced your work and approach at all? How?

J. Hacha De Zola: My old man was both a terrifying and wonderful kinda guy. He inspired a lot of different vibes in me – some good – some not so good. But a couple of the core values he instilled in me as part of living an “observed life” is to be informed and always ask questions. To observe, learn and question everything. To think critically about things that matter to you such art, music, science, life, etc. To me these things are all part of the same cloth; the arts and sciences. Music is truly a science in of itself. The opposite is also true; science can be quite musical, particularly biochemistry, where you have this orchestrated dance of biomolecules, such as helicases, polymerases and ligases as in the example of DNA replication, all working together in a very methodical way, every component doing its own part for the benefit of the whole – in a way that’s very musical. While my music may seem to be fairly chaotic at times, there is a real methodical approach that I follow to create it. It’s the same way with approaching any kind of science where you have an idea or a question you want to flesh out, so you follow a thought-out plan to execute it as elegantly as possible. It’s a bit like playing chess at times, the fewer moves you make to reach a checkmate, and then the more elegant you are in your methods.

 WRH: Who are your influences?

Hacha De Zola: I love everything – I have spent a life time studying and listening to everything that has ever passed by my ears. I felt I had to truly understand music, its place in time, and where I could possibly take it with my own approach. To me everything is relevant and possibly even useful to me in terms of musical ideas I may want to pursue. I don’t like to limit myself in any way in terms of musical styles so I have always kept my ears open to new experiences. However, the first music I ever heard as a child was Latin music, particularly Afro-Cuban music, guys like Perez Prado, Benny More, and Arsenio Rodriquez. At one point as I grew older, I started to listening to what most teens who wanted nothing to do with their parents, would listen to; rock, punk, pop, or even metal which I eventually grew out of as I wanted to learn more about music itself. I wanted to understand the most fundamental roots of all those forms and arrived at the blues. I started out as a guitar player with no interest in being a “vocalist” at all. I started lifting licks off guys like Lightnin’ Hopkins, Mississippi John Hurt, Junior Kimbrough and others. From there I started getting into R&B (Marvin Gaye, Otis Redding, Ruby & the Romantics), soul music (Al Green, Sam Cooke, Donny Hathaway), funk (Sly Stone, Parliament Funkadelic) and eventually jazz (Miles Davis, John Coltrane, Moondog, etc). Later on in life, as in most recently, I have started noticed the Latin music influence on just about every genre of music today, and this has bought me back to appreciate the music of my parents, the first music I have ever heard. Taken all together, I feel that in not limiting my musical tastes has led me to be a better songwriter, musician and artist as a whole. As a vocalist and/or performer, I have some very specific influences or folks that I admire and incorporate a bit of who they are into what I do. Folks like Screamin’ Jay Hawkins, Captain Beefheart, Nick Cave, Eric Burdon, Lee Hazlewood, Serge Gainsbourg, Leonard Cohen and of course, Tom Waits. The guys are all very strong leading men. I hope to be one as well one day when I grow up! (ha!). Lyrically I borrow (or steal) from the greats! Poets and writers like Arthur Rimbaud, Charles Baudelaire, Samuel Coleridge, Daniil Kharms, William S, Burroughs, H.P. Lovecraft, and so many others… 

WRH: Who are you listening to right now?

Hacha De Zola: Let’s see what’s on my record player at the moment…

Just last night it was: Lucha Reyes, Stelvio Cipriani, Juan d’Arienzo, Kris Kristofferson – Oh and Princess Nokia – I love her – I think She’s great….

WRH: Over the course of a couple of albums and EPs, you’ve established a sound that you’ve dubbed “Urban Junkyard.” How would you describe that sound to someone, who’s completely unaware of you and your work?

Hacha De Zola: I feel fortunate to have been born and raised in a very diverse urban environment where I was exposed to many cultures and musical traditions/styles. Growing up in an “Urban” environment has enriched my life as an artist and has been a huge part of my musical journey. Cities, at least in my experience, are the most diverse of places where many different cultures, art, music and food collide to weave a truly rich tapestry. “Junkyard” because I am often selecting utilitarian forms or fragments or bits of music and disrupting them and re-constituting them in some way. Kind of like what Marcel Duchamp did with his “ready-mades” where an ordinary object is taken, reconfigured and elevated to the dignity of a work of art by the mere choice of an artist. These are composite structures or as in my case, musical compositions derived from existing musical forms – hence “Urban Junkyard.”

I like to think Urban Junkyard as my own musical movement. It’s a deconstructionist approach to not just music but also of poetry and lyricism, where I draw from the past, from existing musical or even lyrical forms, and then blow them up or break them down to their most basic forms. The resulting fragments are allowed to spontaneously or semi spontaneously re-form in order to create my own musical language. The result hopefully has a vibe, a look, a sound and a feeling that hopefully sounds uniquely like me. It’s a feeling that I have built “brick by brick”. On Icaro Nouveau, you may hear a Cha-Cha-Cha track at one moment and then a Spaghetti western-ish track to a bolero in the next. I am more interested in musical ideas than merely musical genres. This “Urban Junkyard” approach creates a new vocabulary from an older one which has lead me to another way to make records. I have always wanted to dismantle any excessive loyalty to any particular musical idea and look for the more fundamental or primal aspects that might lie just below the surface – to me that’s what “Urban Junkyard” is all about.

 

WRH: For the bulk of your Urban Junkyard work, you collaborated with the late Ralph Carney. How did that come about? How influential was he on you and your work? Was it difficult to continue without someone who played such a massive role in your creative process?


Hacha De Zola: I love and miss Ralph…

It was just after the release of my first record Escape From Fat Kat City, when I found myself writing furiously, losing my mind and holed up in some downtown Los Angeles motel for several weeks. The plan was to do all the writing in LA, and then meet up with a bunch of friends up in Portland, Oregon to start recording the new record which would become Picaro Obscuro. I had recently read that Ralph had just moved to PDX at the time and I thought “let me shoot him an email!” I grew up listening to Ralph’s playing, particularly on the Tom Waits records he played on, namely Rain Dogs. I also had Big Time on [a] cassette tape which I had absolutely worn out. I wanted to send him a well-placed, polite email in hopes he would actually work with me. I knew that Ralph had a particular love for bass saxophone which was all over several choice cuts on my first record. I had sent him one of those tracks to which he immediately responded via email with a single line “Is that a bass sax?!” – It was at that point I knew I had Ralph’s attention and before long we were in correspondence back and forth. A couple of weeks later, I found myself in a studio with Ralph and another longtime Tom Waits collaborator, musical saw player/multi-instrumentalist David Coulter. I was totally star struck by the experience and got a little “fanboy-ish” on Ralph who instantly made fun of me for it! Ralph didn’t like anyone making a fuss over him – He was so down to Earth and was always quick with a joke and a laugh. It was great fun meeting, working and hanging out with two brilliant musicians like Ralph and David. Ralph and I continued to become friends and got to know each other, talking online, writing and trading tracks via email over the course of the next few years. We would share a lot of our personal woes and artistic/musical frustrations. He became a bit of a mentor to me and I would always go to him when I was stuck or unsure about a particular piece of music. Ralph was my secret weapon. I could always trust him to take a track up a quantum level. I never told him what to do, he immediately knew what the track needed to truly elevate the music. There were many moments where my confidence was shaken, and Ralph would always be there to remind me to trust my instincts. “When the going gets weird – the WEIRDO gets WEIRDER!” which was something he would always tell me. He bought the best out of me and would always tell me to never be afraid of being who I am. He loved what I was trying to accomplish with this whole “Urban Junkyard” thing, he understood it and he was truly at the core of helping me develop what that idea means to me and its overall sound. I was absolutely devastated and heartbroken when I heard of his untimely passing. I lost my dear friend, collaborator and mentor. It was unsettling for me to even attempt to make a new record without his guidance. There were moments in the studio when I felt uneasy, shaken, and unsure but then I could feel him in the room. I could hear him in my head saying “Dude! Don’t be afraid to be weird! Just be yourself and the rest will come!” – The last thing he told me the last time we spoke was “Keep working on your bad self, never stop. Good things will come if you let it, keep showing up and keep doing the work! I love you Brother!” – I love Ralph, I’ll never forget him, and I think of him every day.

 WRH: Your forthcoming album Icaro Nouveau finds you working with acclaimed producer John Agnello. How did that come about? How was it like to work with him?

Hacha De Zola: Oh, John’s a local guy! He’s originally a Bensonhurst, Brooklyn guy, but transplanted himself and the family over in Jersey City many years ago. The Jersey City arts and music community/scene is very close knit. Everyone knows each other, parties, and hangs out together fairly often. I remember seeing John around many of the art events in town but was always a little too shy to say hello. After my third LP, Antipatico, I wanted step up the effort production wise and thought to myself “Hell! Let’s write “Don Angello” a nice email and see if he would be interested in sitting in the producers chair for this next one!” which would eventually become this record “Icaro Nouveau”. I figured what do I have to lose? What’s the worst he could say?! No!? – To my delight, John hit me right back and was so generous with his “Sure – let’s talk!” response! John Agnello is a lovely wonderful man, to know John is to love him. He’s a real community guy, always there to lend a hand or sage advice or even rattle your cage a bit if ya need to get it together! I was pretty floored to think that the same guy who produced so many of my favorite records that I listened to during my formative years as a kid, is now producing my new record!Working with John was great! His attention to detail is amazing, I remember laying down some vocals for a particular track and he was in the control room writing down all the lyrics just for the sake of trying to get the best performance out of me as possible. He would really push me to work hard as well as all of the session guys in order to get the best out of us. He motivated us big time and in a way, you really wanted to give John the best because of the kind way he would motivate you – ya just didn’t want to let him down. After seeing the way he ran the sessions, I knew without a doubt that we were going to walk away with something truly special. Working with him was so much fun – there was never a dull moment! We have become really good friends since and go bowling on a fairly regular basis! I love the guy and lemme tell ya, the dude can roll!!

 

WRH: You have a unique songwriting process that you’ve referred to “reductive synthesis” in which songs aren’t fully written before you and your backing band arrive at the studio; instead, there seems to be a lot of improvisation and you kind of let the tape run, allowing the musicians (and presumably yourself) quite a bit of creative leeway. You go on to say that you’ll then peel back the various layers to fashion a song from what was recorded. How do you know when you have a finished song? And considering the unique creative process, how do you recreate that live?

Hacha De Zola: I like to inject a certain amount of uncertainty into my song writing process which can be a little risky at times because you never know what you are going to end up with. I never sit down and tell myself, “I’m going to write a song about this” or “I’m going to write a rock or a folk song.” That sort of approach bores me to be quite frank. I am more interested in musical concepts or ideas. I would rather borrow or steal a structure from an existing musical form of interest, break it up and then recombine it. I’ll sit at the board next to a producer like John Agnello and then bring in my cabal of musical associates. I honestly let the session players do whatever they want over these structures and just have them all throw the kitchen sink at it. Allow them to take ownership of the track for a moment. I am an enabler and enjoy that role! Maybe I’ll have a Jazz bebop trumpet player come in, I’ll have a Bulgarian folk music player or tuba player or a rock guitarist come in and just let ‘em go for it. While it may not sound like the most efficient way to run a recording session, efficiency is not what I’m worried about here. I never know what we will end up with and that’s part of the “voodoo” behind this approach. Sometimes you just might stumble across something special that was totally unexpected. So how is it a “reductive synthesis”? Once everyone is finished recording their parts, I’ll go back and listen. It is said that sculpture is a reductive art form where a large mass of stone is reduced or carved down to form a structure or form that is aesthetically pleasing. “I saw the angle in the marble and carved until I set her free” – I use a very similar approach when forming the “music” that will make up the “song”. Somewhere in that tangled mass of tracks, I will hear a song that wants to be set free. I don’t get to decide when a song is “done” but rather the song itself will tell me exactly what it needs – it tells me when its done. I never write a song about a subject but rather, the song itself tells me what it’s about. I will take a raw track, just full of noise and sound, and peel away the layers until the song is free to take on a life of its own. The music gets put together first, then the lyrics are completed next. I usually form the words to the harmony and melody later. In terms of the live show, most bands or musicians often have a set- live repertoire of songs that they have been playing for a long time that eventually will be taken into the studio to be recorded. I actually work in the opposite direction, the songs are formed in the studio first and from there the finished, “freed” song is then charted out and handed over to the folks in the band for the live show. I have developed two different kinds of the “live” show, solo J Hacha, which is an acoustic solo type thing performing songs that lend themselves to that kind of format, and then there’s the theatrical, full big band live show, complete with horn sections, percussive elements, live singers, etc.

 WRH: Icaro Nouveau’s latest single is this slow-burning Bob Dylan meets Tom Waits-like “Super Squeaky.” Can you tell us a bit about what inspired the song and what it’s about?

Hacha De Zola: To be honest, I am never really sure what a song is about going in. I only get to know what a song is about once I begin to write it which is when it tells me what it is about. As far as im concerned, songs should always be open to interpretation. But if I had to take a guess, this is a song about being at the end of your rope. It’s about being resigned to one’s fate for better or worse. It’s a song about compunction, owning up to your own hubris, and about coming “clean” hence the title “Super Squeaky”. I have suffered a number of failed bad relationships perhaps (story of my life). I’ll go ahead and say I’m likely to blame for all of it. Ok I’m definitely to blame for all of it (lol). This song contains many of those kind of themes — heartbreak, hangovers, loss, moving on and hopefully redemption.

WRH: What’s next for you?

Hacha De Zola: I’ll never know! I take it day by day mostly! But I must say that it will likely involve developing this “Urban Junkyard” thing even further- perfecting it – honing it. I have so many artistic aspirations that I would love to explore. Some of these include film, theatre, and performance art. The music will always play a central role which comes first and foremost but I would like to do more. I am constantly writing new songs and thinking of new directions to take the music. Not too long ago I released a synthy- All Spanish dream-pop EP Syn Illusión. Maybe I’ll make a mumble rap-trap EP (lol) next or maybe even a reggaeton record (???). One of the best things about being an independent artist is that I can do whatever I damn well please! Not everyone will understand it but I’m ok with that! After the last few years, making these records and meeting so many spectacular players and artists, I have been really blessed with so many opportunities to take the art up to a new level. I would really love to take the live show on the big road, develop it further and make it as theatrical as possible. I would love to write an opera or a play/theatre piece. I would love to direct or have a hand in directing a film.  As an artist, the sky is the limit, I love pushing boundaries and will keep doing so till I can’t anymore. All I can say is that I am excited about art, music and what is to come. Life is good and I’m blessed to be able to be doing this right now. Thank you!

 

 

Over the past few years, the Akron, OH-based funk septet Wesley Bright and The Honeytones, currently featuring Wesley Bright (vocals), Jonathan Fields (drums), Matthew Derubertis (bass), Jimmy Parsons (guitar), Nathan-Paul Davis (sax), Matt Garrett (trumpet) and Max Brady (trombone) have become a regional favorite among soul music fans and vinyl collectors — thanks in part to Bright’s vocals, which have been compared to Al Green and Otis Redding and to the group’s sound, which attempt to bridge the gap between classic soul and the modern sound. The band has gone through some changes both in personal and sound, and the act’s latest Leroi Conroy-produced 45 RPM single “Happiness”/”You Don’t Want Me,” which was released through Colemine Records reportedly represents the band’s new sonic direction. And while still clearly indebted to classic soul, the stomping and strutting “Happiness” brings to mind the G.E.D. Soul Records artists DeRobert and the Half-Truths and AJ and the Jiggawatts, as the song balances plaintive and earnest sweetness with a gritty toughness. It’s a song in which its narrator is fed up with a love interest, who he feels is playing with him and his emotions when all he wants is to love, be loved and be happy. “Happiness” has arguably one of the best bass lines I’ve heard this entire year paired with a horn section that brings to mind Daptone Records, Hannah Williams and the Affirmations and others.

The B-side “You Don’t Want Me” is a slow-burning soul number that nods at Otis Redding and Muscle Shoals, as it’s centered around a arrangement of bluesy and twangy guitar, a shuffling bass line and organ line, and Bright’s easygoing vocals, which manage to evoke plaintive ache, stubborn pride and longing within a turn of a phrase. From these two tracks, I think we’ll be hearing much more about Wesley Bright and his Honeytones.

 

 

 

Comprised of Novak (vocals, guitar) and John Henry (drums, vocals), the Sydney, Australia-based rock duo Polish Club can trace their origins to when the occasional drinking buddies decided to book a room and see if they could play together. The result is a bruising, bluesy garage rock with elements of classic, Otis Redding, Jackie Wilson and others and as the band’s drummer John Henry explains, their sound was “just about playing to the strength[s] of the people involved. We play hard and fast and loud with kinda simple guitar lines and Novak has a voice that manages to push a lot of air. We probably sound so big because his voice is actually physically very loud. Like, if he sings without a mic in a room, you can’t talk to the person next to you.”

Opening for the likes of Courtney Barnett and Gang of Youths in their native Australia, the duo quickly received a reputation for sweat-soaked and bloodied, barn-burner sets, and as a result they’ve managed to sell out headlining shows, and play their country’s festival circuit. Building upon a rapidly growing profile, the duo’s forthcoming full-length debut Alright Already is slated for an August 10, 2018 release through Universal Australia, and the album’s second official single “Come Party” is a swaggering, face-melting, power chord-based bruiser that sounds indebted to AC/DC, The Black Keys, Grand Funk Railroad, Thin Lizzy and 38 Special, complete with an enormous, arena rock friendly hooks. Unsurprisingly, the new single reveals a band that’s ready to kick ass, take names — and then take over the world while they’re at it.

New Video: Terra Lightfoot Returns with an Anthemic, Arena Rock Friendly, New Single

If you had been frequenting this site over the course of last year, you may have come across a couple of posts featuring the Hamilton, ON-based singer/songwriter and guitarist Terra Lightfoot. And as you may recall, although she may be be best known as a member of Canadian country act Dinner Belles, Lightfoot, who is personally influenced by Maybelle Carter, Sister Rosetta Tharpe, Lead Belly, Lightnin’ Hopkins, Sam Cooke, Otis Redding, Nina Simone and Billie Holiday has developed a reputation for crafting raw, slow-burning singer/songwriter-based guitar pop that nodded at  Patsy Cline and others, as you would have heard on “All Alone,” off her sophomore effort, Every Time My Mind Runs Wild and a gorgeous and mournful, solo rendition of “I’ll Be Home For Christmas” that drew influence from Chet Atkins‘ instrumental rendition. Adding to a growing profile. Lightfoot has opened for the likes of  Emmylou Harris, Ron Sexsmith, Gordon Lightfoot, Blue Rodeo, Rheostatics, Grace Potter, The Both, Built to Spill, Sloan, Arkells, Basia Bulat, Albert Lee, James Burton, The Sadies, Steve Strongman, Monster Truck and Daniel Lanois on stages across France, the UK and her native Canada. 

Lightfoot’s third full-length album New Mistakes is slated for an October 13, 2017 through Sonic Unyon Records and as you’ll hear on the album’s  first single “Paradise,” the album finds Lightfoot thoroughly reinventing her sound while retaining some of the elements that first caught the attention of this site and the rest of the blogosphere — while still being based around Lightfoot’s personal and deeply heartfelt lyrics and booming, soulful vocals, the song is arguably one of her most anthemic songs, rooted around the sort of bluesy shout and stomp reminiscent of T. Bone Burnett, The Black Keys and others. And although it’s a decided, contemporary rock-based, modernization of her sound, it reveals a singer/songwriter, who is actively coalescing her influences into a clear and unique sound and vision. 

As Lightfoot explains in press notes, “For me, ‘Paradise’ is about letting go of perfection in love. It’s not wrestling with the problems and missteps in our relationships but embracing them. I think it’s a more realistic way to look at love and it gives me some comfort to know I’m not standing there with rose-coloured glasses on.  ‘Paradise’ actually started out as a different song called ‘Thunder’ that was a huge hit at our shows. On the last day of tracking the record, I had this crazy idea that I wanted to change the words because I wasn’t happy with all of them, so I set up a pillow fort and a guitar in the tracking room, went to work… and ended up with a new verse melody and completely different lyrics. Gus and Werner liked the new verse so much they said, ‘Okay, now go write a chorus to match that verse” — and ‘Paradise’ was born!

The recently released music video for “Paradise” is a highly symbolic video that features Lightfoot playing solo and then accompanied with her incredibly dapper backing band in an abandoned factory with an unusual intimacy. Along with that there’s a sequence that features Lightfoot dancing joyously in the rain — perhaps after recognizing a truly adult and realistic version of love. 

New Video: Canadian Singer/Songwriter Terra Lightfoot’s Gorgeous Rendition of a Christmas Season Classic

Lightfoot’s sophomore effort Every Time My Mind Runs Wild was released earlier this year through Sonic Unyon Records and if you’ve been frequenting this site, you may recall that I had written about the Canadian singer/songwriter’s bluesy and heartfelt single “All Alone,” a single reminiscent of a more muscular version of Patsy Cline’s “Crazy” and “Walkin’ After Midnight,” complete with the same heartache at its core. Just in time for the holidays, Lightfoot released an understated solo rendition of the Christmas season classic “I’ll Be Home For Christmas,” which she played for the first time at CBC’s Sound of the Season last year and she recently recorded live at McMaster University’s LIVELab. Interestingly, Lightfoot’s self-accompanied guitar arrangement draws from Chet Atkins’ instrumental rendition.

As Lightfoot explains in press notes about her rendition of “I’ll Be Home For Christmas: “I think I feel comfortable delivering a song like ‘I’ll Be Home For Christmas’ because I can really live inside that gentle mood and melody. The heartfelt lyrics, that sense of fragile security. The melody and chords are stunning, but as a songwriter I also appreciate the uncertainty and underlying tension in the plot: you’re not sure if you’ll make it home, or maybe your home is long gone and you’re wishing you could go back. I don’t know if I would be able to deliver a song like ‘Joy to the World’ with quite as much conviction. ” Interestingly, in some way the tension within the song shouldn’t be surprising as the song was originally written from the perspective of troops separated from their families by war — and considering that families are being uprooted from their homelands and separated from each other by seemingly unending conflict or from politics, Lightfoot’s understated rendition gives the song a subtly modern context, while sounding as though it could have been released in 1957.

Personally, I think what makes Lightfoot’s rendition one of the more compelling renditions I’ve heard in some time is that the Canadian singer/songwriter’s voice conveys a painfully lonely ache and longing — the sort of longing that comes from lengthy periods apart from loved ones and from home.

New Video: The Early Rock and Blues Sounds of Hamilton, Ontario’s Terra Lightfoot

Lightfoot’s sophomore effort Every Time My Mind Runs Wild was released earlier this year through Sonic Unyon Records and as you’ll hear from the album’s bluesy and early rock sounding latest single “All Alone,” the material explodes with a visceral, heartfelt urgency –and that shouldn’t be surprising as thematically the album focuses on the universal (and classic) themes of love, lust, loneliness and temptation; but perhaps more importantly, the album reveals a singer/songwriter, who has grown exponentially. As the Canadian singer/songwriter notes in press notes, she spent time refining, revising and experimenting with her songwriting approach and listening to tons of vintage pop and rock albums from where she picked up on and mastered old-school techniques and concepts — i.e., tonic chords and middle eights — while crafting tighter hooks. Sonically speaking “All Alone” is reminiscent of a bluesy and muscular version of Patsy Cline’s “Crazy” and “Walkin’ After Midnight,”complete with the same heartache at its core paired with Lightfoot’s effortlessly soulful and bluesy powerhouse vocal range. Every single time I’ve heard the single I’ve been blown away by Lightfoot’s vocals and by the ache and resolve they express — frequently within the turn of a phrase.

The recently released music video employs a rather simple concept. Shot while Lightfoot was on tour in the UK, the video features the Canadian singer/songwriter wandering around the Scottish highlands with her guitar, singing the song. A beautiful voice paired with some of the most beautiful scenery you can come across — that works. As the Hamilton, ON-based singer songwriter says about the video “We visited a hidden beach, a cemetery, a bog full of petrified wood, a castle, and finally a dreamy waterfall . . . The Scottish highlands will always hold a piece of my heart and I’m so glad we were able to capture that sense of awe on film.”

 

While most Westerners are most likely familiar with Afrobeat, Malian blues and several other genres that have hit European and American shores since the early 1970s, there’s actually a lesser known genre primarily based in the Western African nations of Togo and Benin called vaudou, named after both the culture and rituals that birthed it; in fact, part of vaudou rituals reportedly involve the use of characteristic lines sung to various divinities that differ wildly from everything one may hear in neighboring cultures. Sadly, many of the genre’s key figures including Poly-Rythmo of Cotonou, Dama Damawuzan, or El Rego have had their popularity confined to crate-digging and groove-obsessed Afro-groove and Afro-funk fans.

 

Lome, Togo-born and Lyon, France– based Peter Solo (lead vocals and guitar) stumbled upon this energetic Afro-funk and found a natural extension between vaudou and the blues, funk and R&B of James Brown, Otis Redding, Wilson Pickett and others. Solo then recruited Vicente Fritis (keys, backing vocals), Ghislain Paillard (sax, percussion and backing vocals), Guillhem Parguel (trombone, percussion, backing vocals), Jeremy Garcia (bass, backing vocals) and Hafid Zouaoui (drums, backing vocals) to complete his band Vaudou Game.

Now, if you’ve been frequenting this site for some time, you’d know that I’m frequently multi-tasking while working on posts and it has lead to the serendipitous discovery of a handful of acts that I’ve written about — including the aforementioned Vaudou Game. Check out “Revolution,” the opening track off the band’s latest effort Kidayu, a single with an infectious and deep groove reminiscent of early 70s James Brown (think of “The Payback”), and Open and Close/Afrodesiac-era Fela Kuti and Pazy and the Black Hippies’ Wa Ho Ha with lyrics sung both in English and one of the local dialects spoken in Togo — while being equally politically charged.