Tag: soul

Single Review by William Ruben Helms

Northampton, UK-born, London, UK-based singer/songwriter and guitarist Bruno Major who has received attention across the UK and elsewhere with the release of the first three singles off his current 12 month-long release project. And his fourth and latest single “Easily” will further cement the up-and-coming singer/songwriter’s burgeoning reputation for earnest and crafted pop that draws from the blues, jazz chord progression and contemporary songwriting techniques. Major pairs his soulful and confident vocals singing a defiant and sultry refrain “Just because it won’t come easily, doesn’t mean we shouldn’t try,” with an atmospheric production featuring swirling, bluesy guitar chords, a sinuous bass line and hip-hop inspired drumming in a swaggering and sultry song that seems to channel Nick Hakim.

 

 

Video by William Ruben Helms

New Video: The Sultry and Classic Soul Sound of Bristol’s Hannah Williams and The Affirmations

Produced by The Heliocentrics’ Malcolm Catto, who has produced Mulatu Astatke, Orlando Julius and the iconoclastic author/auteur/film producer/actor/musician Melvin van Peebles, and collaborated with Floating Points, Quantic, DJ Shadow and Madlib, Williams’ much-anticipated sophomore effort was recorded, mixed and mastered to tape at London’s Quatermass Studios, Williams’s highly-anticipated sophomore full-lenth effort Late Nights and Heartbreak will be released Stateside and elsewhere on Friday through Record Kicks Records. Interestingly enough the effort not only marks the first time Williams has worked with Catto, it also marks the first recorded effort with her new backing band, the Bristol, UK-based The Affirmations — and from the material I’ve heard off the album, the band comprised of James Graham (organ, piano and Wurlitzer), Adam Holgate (guitar), Adam Newton (bass), Jai Widdowson-Jones (drums), Nicholas Malcolm (trumper), Liam Treasure (trombone), Victoria Klewin (baritone saxophone) and Hannah Nicholson (backing vocals) are not just an incredibly tight unit, but they can give the world-famous Daptone Records bands a run for their money.

The album’s first single “Tame in the Water” has Williams and The Affirmations pairing her incredibly soulful vocals with a tight and funky groove, shuffling drumming, twinkling keys, shimmering guitar chords and a bold horn line to create a sultry, mid-tempo torch song with a narrator, who has had enough of her lover’s shit and wants out, knowing that she deserved and still deserves much better — all while sounding as though it could have been released in 1964 or so. And in some way, the song nods a bit at Dusty Springfield’s “Son of a Preacher Man” but with a visceral sense of heartbreak that’s devastating.

The charmingly goofy music video follows the relationship between Williams and a anthropomorphic rabbit, who she discovers is a no-good, cheating, irresponsible lout, which follows the song’s narrative. And towards the end we see an extremely pissed Williams packing her stuff and calling a friend to give her a ride while her former lover gets sloshed — and then kicked out of a bar.

The album’s second single is an amazing, mind-blowing psychedelic soul rendition of “Dazed and Confused” that draws equally from the original version written by Jake Holmes, Led Zeppelin’s legendary cover and The Temptations’ “Papa Was A Rolling Stone” — but with a swaggering, self-assuredness. And from both singles a few things are apparent: Hannah Williams can fucking sing her heart out — and I can guarantee that you will be hearing about her and the Affirmations for quite some time; the chemistry and simpatico between Williams and the Affirmations is undeniable, as they’ve created some of the tightest and funkiest music of their young careers.

New Audio by William Ruben Helms

 

Comprised of Connecticut-born and Brooklyn-based founding trio Julia Zivic (vocals), her brother Jason Zivic (drums) and Itamar Gov-Ari (keys, guitar vocals), along with Mike Roninson (bass) and Chris Stelluti, Brooklyn-based neo-soul/indie soul/progressive soul quintet Vinegar Mother can actually trace its origins to when its founding trio started performing together under the moniker Julia Zivic and The Brothers. And as Julia Zivic and The Brothers, the trio a level of attention as they played the 2014 Greenwich Town Party Festival on a bill that included the likes of George Clinton, Santana, Buddy Guy and Dr. Dog — and they finished second in that year’s International TalentHouse Jimi Hendrix Competition for their rendition of “Red House.”

As the trio began to increasingly expand upon their sound, the founding trio decided to start anew and recruited bassist Zack Slaughter and Stelluti to record their debut EP as Vinegar Mother; however, shortly after the band formed, the band went through a lineup change that included Roninson replacing Slaughter, who joined the Marines. As Vinegar Mother, the band has developed a reputation locally as they’ve played a number of shows across this fair city — including The Knitting Factory and The Studio at Webster Hall — and along with a CMJ appearance last year, the band has opened for the likes of The Lonely Biscuits, Kat Wright and The Indomitable Soul Band, Joanna Teters and Mad Satta. Now, if you were frequenting this site last month, you may have come across the easy-going, 90s neo-soul leaning “Sunny Seat,” a song inspired by and written about a deeply personal experience in which Julia Zivic had a bitter falling out with a friend.

“Slow,” the band’s latest single off their soon-to-be released debut EP Sunny Seat is a sultry and sensual that captures the wounded psyche of its narrator — a narrator, who’s desperate for love to cure her aching loneliness paired with a slightly more straightforward song structure and arrangement than its predecessor. Interestingly, the song captures the perspective and thinking of an emotionally conflicted woman with an uncanny nuance and a novelist’s attention to psychological detail — all while being a subtle yet very modern take on classic soul and blues.

The members of the band are starting an increasing tour schedule, check out tour dates below, which includes a set tonight at SoFar Sounds.

Live Shows

November 8 –  SoFar Sounds – Brooklyn, NY

November 18 – Radio Bean – Burlington, VT

November 30 – Piano’s – New York, NY

Single Review by William Ruben Helms

With the release of his critically praised 2002 debut, The Headphone Masterpiece, singer/songwriter Cody ChesnuTT was universally hailed as a modern-day soul troubadour with many critics comparing his early work to the likes of Marvin Gaye, Curtis Mayfield and Stevie Wonder, thanks in part for frank and socially conscious rumination on modern Black life. Interestingly, ChesnuTT’s rise to critical and commercial acclaim came about as part of a particularly conscious neo-soul movement that included Erykah Badu, Jill Scott, The Roots and others, proving that artists can release work that’s important, relevant and necessary — and be fairly commercially successful. But after a meteoric rise that included a collaboration with The Roots, ChesnuTT abruptly disappeared from public view for the better part of a decade. And in that decade period, ChesnuTT went through a period of deep, personal reflection and observation and raised a family — and those experiences informed and influenced his 2012 sophomore effort Landing on a Hundred, an effort linked contemporary Black music to the classic, singer/songwriter soul of Marvin Gaye, Bill Withers, Stevie Wonder, Curtis Mayfield and others while pointing out that the hopes, frustrations, loves, and struggles that those legendary artists spoke about then have remained unchanging.

After touring to support Landing on a Hundred, ChesnuTT had been pretty busy, contributing to the soundtracks for the Oscar Award-winning major motion pictures 12 Years A Slave and Idris Elba Presents Mi Mandela, as well as working on the material that will comprise his forthcoming, third, full-length effort My Love Divine Degree, slated for a February 2017 release.  Produced by Anthony “The Twilight Tone” Khan, a BMI Award, Grammy-nominated producer, songwriter and DJ, who has worked with Kanye West, Common, John Legend and Pusha T., the album will reportedly further cement ChesnuTT’s reputation for writing frank and earnest observations of modern Black life, while pushing the boundaries of what contemporary R&B and soul can sound like. Interestingly, the album’s second and latest single “I Stay Ready” is according to ChesnuTT is a call to arms for positivity in the face of adversity. As the singer/songwriter explains in press notes “In a time of global economic uncertainty, it is an uplifting charge to use one’s natural talents and gifts of creativity to forge ahead positively into purpose and economic well being.

The feeling of this track is rooted in one of the most beautiful guitar riffs I’ve ever been given…a gem that found me ‪around 4AM. Accompanied by the exciting drum breaks programmed by legendary Chicago DJ Anthony ‘The Twilight Tone’ Kahn, the energy and sentiment of the song for me, is a pure shot of life.”

Sonically speaking, the song finds ChesnuTT’s silky smooth vocals paired with big, 808-like breakbeats, layers of buzzing synths, sinuous bursts of guitar and distorted vocal samples in a swaggering and cocksure song that may arguably be one of the most upbeat, “we can do this” songs he’s released to date.

 

 

 

 

 

singer/songwriters by William Ruben Helms

New Video: Júniús Meyvant Returns with More Carefully Crafted 60s-Inspired Sounds and Striking Visuals for His Latest Single

With the release of Floating Harmonies’ third and latest single “Beat Silent Need,” the Icelandic singer/songwriter will arguably cement himself as one of the finest, contemporary, blue-eyed soul singer/songwriters on either side of the Atlantic as his sound nods at 60s and 70s soul, paired with thoughtful and heartfelt lyrics. In this case, this particular song focuses on loneliness and the desperate need for love and to be desired, the self-doubt, confusion, misunderstandings and fear that frequently sabotage our relationships, the difficulties of honestly connecting with others and the blind hope that in every subsequent relationship that we’ll somehow get it right — although most of us fail miserably some way or another.

The recently released video begins with a couple in the middle of a bitter argument as the man drops his woman off for a pregnant woman yoga class taught by a neglectful asshole. When the women bolt from their class, they are subsequently chased by both the yoga instructor and our protagonist’s boyfriend. And it ends with the pregnant woman, worriedly driving herself and her companions to a hospital as they all experience labor pains — without the asshole men in their lives.

Video by William Ruben Helms

As a black man, the recent deaths of Philando Castile and Alton Sterling by police officers  as well as the countless other deaths of black children, women and men have been on my mind and very little has offered much comfort from the feelings of fury, bitterness, confusion, horror, profound sadness and numbness I’ve been feeling over the past few days. And as a result, I’ve been obsessed with Syl Johnson‘s aching and bitter lament “Is It Because I’m Black” which my homey Abdul recently put me on to and Bob Marley‘s “War.” I think both songs will say just about everything that I feel about now.

Single Review by William Ruben Helms

New Single: Check Out the Slinky, Seductive and Soulful Electro Pop Sounds of Michigan’s Daniel Wilson

  Up-and-coming, 24 year-old, Michigan-based singer/songwriter and producer Daniel Wilson much like a number of pop artists grew up in a gospel music-loving home. Feeling inspired to create by using file-sharing programs, the Michigan-based Wilson […]

Single Review by William Ruben Helms

Certainly, if you’ve been frequenting this site over the past couple of months you may know that with the release of his debut single “Color Decay,” Westman Islands, Iceland-based singer/songwriter Júniús Meyvant quickly received attention across Iceland, Scandinavia and elsewhere for an old-school soul, funk, pop-inspired sound; in fact, the single was a breakout single that hit number 1 on the Icelandic charts, and as a result of the single’s success, Meyvant wound up dominating that year’s Icelandic Music Awards with nominations for Best Newcomer and Best Male Singer, which he also wound up winning — all of which naturally led to greater attention both across Scandinavia and the European Union, including airplay on Radio X, BBC Radio London, Amazing Radio and the song being chosen by KEXP’s Program Director Kevin Cole as his Song of The Year.

Last month, I wrote about “Neon Experience,”the first single off the Icelandic singer/songwriter’s highly-anticipated full-length debut Floating Harmonies, a single that I think further cements the Icelandic singer/songwriter’s reputation for a sound that possesses elements of old-school soul, pop and funk in mid-tempo arrangement comprised of warm and soulful horn line, a gorgeous and dramatic string arrangement, twinkling keys, a sinuous bass line paired with an infectiously anthemic hook and a slow-burning sultry bridge. All of which are perfect for the silky falsetto. Also you have to add an uplifting and resilient message that could push even the most jaded and cynical through the doldrums in a song that sonically reminded me of the Daptone Records roster — while subtly nodding at the work of Simply Red and Chet Faker.

Floating Harmonies‘ second and latest single “Mighty Backbone” pairs a similar arrangement of horns, strings, guitar and bass with complex polyrhythm. And although the breezy song sounds as though it could have been written and recorded in 1963 as it possesses a careful and deliberate attention to craft — but with a subtly modern production sheen. Ironically, despite the fact that song feels remarkably upbeat, lyrically the song is actually quite bittersweet as the song’s narrator seems to be seeking something that he  may not be able to ever truly achieve.

 

 

Video by William Ruben Helms

Live Footage: Charles Bradley Performing “Ain’t It A Sin” on Late Show with Stephen Colbert

Originally released as a Record Store Day B-side to his incredibly soulful cover of Black Sabbath‘s “Changes” with fellow Daptone Records labelmates The Budos Band, and a regularly occurring part of his live sets “Ain’t It A Sin,” is the third and latest […]

Video by William Ruben Helms

New Video: Charles Bradley’s Strutting and Rowdy Visuals for “Ain’t It A Sin”

Originally released as a Record Store Day B-side to his incredibly soulful cover of Black Sabbath‘s “Changes” with fellow Daptone Records labelmates The Budos Band, and a regularly occurring part of his live sets “Ain’t It A […]

Single Review by William Ruben Helms

Last Friday marked the 32nd anniversary of Marvin Gaye‘s tragic and untimely death — while Saturday would have marked Gaye’s 77th birthday. Recently as a tribute to Marvin Gaye’s incredible influence on contemporary music, Counterweight Records‘ producer and DJ, DJ Devastate and self-professed synth guru Segerfalk went to Analog Sweden‘s studio to record a rework and re-imagining of Gaye’s beloved classic song “I Heard It Through The Grapevine” that DJ Devastate and Segerfalk have titled “Do You Cry?” And the rework pairs DJ Devastate and Segerfalk’s boom-bap beat heavy production featuring twinkling synths and swirling electronics with Marvin Gaye’s iconic and silky smooth vocals — this time as the song’s hook and chorus — along with guest spots from Joe Lefty and Chapee.

Simliar to  Red Hot + Fela, the Fela Kuti tribute album featuring reworked and reimagined songs from Kuti’s enormous catalog, DJ Devastate, Segerfalk, Joe Lefty and Chapee’s tribute to Marvin Gaye manages to be more than just a fresh take on a song that several generations have been intimately familiar with for quite some time, it’s an adept meshing of hip-hop and classic soul that should remind listeners of Gaye’s how much Gaye and his peers have influenced contemporary music. But perhaps much more important, this rework should remind folks — especially those who were too young to remember when he was alive — of the fact that Marvin was a vital and sensual presence you had to pay attention to.

 

 

 

 

 

 

 

 

Single Review by William Ruben Helms

If you had been frequenting this site during the end of 2015 and the beginning of this year, you may recall coming across a couple of posts on Chicago-based R&B vocalist and singer/songwriter The Elle and her collaborations with Minnesota-based singer/songwriter and emcee Blaccout Garrison, Hungry Soulful EP — in particular, “Strawberry Cheesecake Dessert.” which was produced by Dthr33 and featured Jackson, WY-based emcee Abstract, had Abstract and Garrison trading charmingly old-school-inspired lyrics about the ladies they loved over, while The Elle sang the song’s soulful and sensual hook over the soulful and jazzy sample that comprises A Tribe Called Quest‘s “Bonita Applebum.” Hungry Soulful‘s second single was the  P-Soul-produced “Wishing On A Star,” which paired a subtly chopped up old-timey, twinkling piano sample and boom-bap drum programming with Garrison rhyming about focusing on one’s dreams and overcoming life’s frustrations and obstacles. The Elle contributes the song’s introductory verses and the soulful and thoughtful hook.

 

Slated for release next month, Soul Art Music is the Chicago-based vocalist’s forthcoming full-length effort and the album’s latest single “Your Love” was produced by South African producer Keith Virgo. The track begins with an introductory sample of Eartha Kitt, setting up the song’s theme as the legendary actress and singer candidly shares her thoughts about love — and in her mind, real love is essentially a process of learning how to share yourself with yourself and others. The song pairs Virgo’s subtly cosmic and trippy production consisting of layers of twinkling and shimmering synths, tumbling percussion, boom bap drums,  electronic bleeps, bloops and beeps with The Elle’s sultry vocals about a love that has made her narrator feel as though she had found her truest self. Within the turn of a phrase The Elle reveals a narrator who is strong yet unafraid to be vulnerable and open, and absolutely appreciative of stumbling about this person at this juncture. Lucky and rare are those who experience such a love.

New Audio by William Ruben Helms

Tomorrow marks the release of Mavis Staples’ latest album Livin’ On A High Note and the album will reportedly reference and draw from her 60+ year musical career influencing and defining gospel, soul, folk, pop, R&B, blues rock and even hip-hop — and that shouldn’t be surprising.  But the most interesting and compelling aspect of Livin’ On A High Note is that Mavis recruited a number of diverse and critically applauded contemporary artists to write songs specifically for her including Neko Case, Bon Iver’s Justin Vernon, Nick Cave, Ben Harper, tUnE yArDstUnE yArDs, Aloe Blacc, Benjamin Booker, The Head and the Heart and M. Ward — with Ward also taking up production duties. As the legendary soul singer explained in press notes “I’ve been singing my freedom songs and I wanted to stretch out and sing some songs that were new. I told the writers I was looking for some joyful songs. I want to leave something to lift people up; I’m so busy making people cry, not from sadness, but I’m always telling a part of history that brought us down and I’m trying to bring us back up. These songwriters gave me a challenge. They gave me that feeling of, ‘Hey, I can hang! I can still do this!’ There’s a variety, and it makes me feel refreshed and brand new. Just like Benjamin Booker wrote on the opening track, ‘I got friends and I got love around me, I got people, the people who love me.’ I’m living on a high note, I’m above the clouds. I’m just so grateful. I must be the happiest old girl in the world. Yes, indeed.”

Now you might recall that I wrote about album single “High Note.” The single focuses on something that’s much easier said than done for most of us — taking the higher road despite how hurt, betrayed and disgusted you might be over a particular person or a particular situation, and doing so with grace and dignity. At the same time, the song’s narrator points out that taking the higher road requires wisdom and experience — sometimes embittering and hurtful ones to know when and how to do so. Sonically, the song pairs a loose and bluesy guitar line with Mavis’ legendary vocals in a song that radiates a comforting and soulful warmth that says “hey, I’ve been there, too.”

Recently, two more singles from the album were released — the Nick Cave penned “Jesus Lay Down Beside Me” and the tUnE yArDs penned “Action.” “Jesus Lay Down Beside Me” pairs slow-burning and bluesy guitar chords with Mavis Staples’ unmistakable vocals in what may arguably be the most gospel-leaning song on the entire album as the song’s narrator offers Jesus comfort for his suffering — with the understanding that even for the most religious their faith can seem both distant and easily questioned. “Action” is a shuffling and upbeat call and response-based song in which its narrator says that desperate times often require desperate measures — and that when you’re sick and tired of being sick and tired, that you’re getting up off your ass and doing something. And much like Charles Bradley‘s “Change For The World,” “Action” points out that civilization’s current plight is untenable and unsustainable until we’ve had enough and change it. It seems like we all need to listen to the old-timers, huh?