Tag: The Black Crowes

New Video: The Texas Gentlemen Return with Slasher Flick-Inspired Visuals for New Single “Pain”

Earlier this month, I wrote about  The Texas Gentlemen, an act comprised of a core group of bandleader and founding member Beau Bedford, Nik Lee, Daniel Creamer, Matt McDonald, Ryan Ake and a constantly evolving and rotating cast of collaborators and friends, that was initially assembled as an all-purpose backing band for an eclectic array of singer/songwriters including Leon Bridges, Nikki Lane, Shakey Graves, Delta Spirit’s Matthew Logan Vasquez, Jack Ingram, Terry Allen, Ray Wylie Hubbard, Ray Benson, Joe Ely and many others — and in a similar fashion to The Wrecking Crew, The Muscle Shoals Swampers (who once backed Aretha Franklin, Wilson Pickett and a lengthy list of soul legends), Booker T. and The M.G.’s and The Band. Now as you may recall, the members of The Texas Gentlemen backed the legendary Kris Kristofferson at this first Newport Folk Festival appearance in more than 45 years, and the set lead to a series of critically applauded shows across Texas.

Building on their growing reputation as a go-to backing band, the band signed to New West Records, who will release their full-length debut effort TX Jelly on September 15, 2017. Recorded at FAME Studios in Muscle Shoals, AL, the album, which was produced by the band’s Beau Bedford was recorded live to tape over four days in a raucous recording session and features material that touches on the blues, soul, folk, country rock, gospel and Southern rock. As Bedford described the recording sessions to the folks at Paste, “We set up our own version of Rock ‘n’ Roll Summer camp and invited our friends down to FAME studios. We figured at worst, we would have a great time as friends hanging out in one of the most historic studios in America. There was so much mojo once we turned all of the gear on, sounds just started popping out of the speakers, and the songwriters couldn’t help but feed off the energy. TX Jelly is the fruition of years of kinship and a deep hunger by our collective group for American roots music.”

TX Jelly’s first single “Habbie Doobie” was a sweaty, funky and hook-driven bit of down home, Southern rock that sounded as though it drew from The Allman Brothers, The Band, Lynyrd Skynyrd and The Black Crowes but with the free-flowing improvised feel of a bunch of old friends jamming and hitting upon a groove, with each individual musician knowing where the other was going next. And while easily displaying the cool, self-assuredness of old pros, the song is a decidedly bold introduction to the band as an independent unit. Fittingly enough, TX Jelly’s second single “Pain” is a jangling and old-timey boogie that touches upon The Band’s “Up on Cripple Creek,” Lynyrd Skynyrd’s “What’s Your Name,” Stealers Wheel’s “Stuck In The Middle With You” and naturally, much of the sounds of the early 1970s — but much like the preceding single, they do so with the soulful and swaggering self-assuredness of old studio hands. 

Directed by Horatio Baltz, the recently released video for “Pain” is inspired by 70s and 80s slasher flicks and features a gorgeous femme fatale, who causes a hell of a lot of pain for her victims  — victims, who look quite a bit like members of the band. There’s sure to be pain in their lives, and a few bloody deaths, too. 

New Video: Goof Off with The Texas Gentleman in the Visuals for Their Funky Single “Habbie Doobie”

Currently comprised of core group of bandleader and founding member Beau Bedford, Nik Lee, Daniel Creamer, Matt McDonald, Ryan Ake and a constantly evolving and rotating cast of collaborators and friends, The Texas Gentlemen were initially assembled as an all-purpose backing band for an eclectic array of singer/songwriters including Leon Bridges, Nikki Lane, Shakey Graves, Delta Spirit’s Matthew Logan Vasquez, Jack Ingram, Terry Allen, Ray Wylie Hubbard, Ray Benson, Joe Ely and many others, and in a similar fashion to The Wrecking Crew, The Muscle Shoals Swampers (who once backed Aretha Franklin, Wilson Pickett and lengthy list of soul legends), Booker T. and The M.G.’s and The Band. Last year, the members of The Texas Gentlemen backed the legendary Kris Kristofferson at this first Newport Folk Festival appearance in more than 45 years, and the set lead to a series of critically applauded shows across Texas. 

Building on their growing reputation as a go-to backing band, the band signed to New West Records, who will release their full-length debut effort TX Jelly on September 15, 2017. Recorded at FAME Studios in Muscle Shoals, AL, the album, which was produced by the band’s Bedford was recorded live to tape over four days in a raucous recording session and features material that touches on the blues, soul, folk, country rock, gospel and Southern rock. As Bedford described the recording sessions to the  folks at Paste, “We set up our own version of Rock ‘n’ Roll Summer camp and invited our friends down to FAME studios. We figured at worst, we would have a great time as friends hanging out in one of the most historic studios in America. There was so much mojo once we turned all of the gear on, sounds just started popping out of the speakers, and the songwriters couldn’t help but feed off the energy. TX Jelly is the fruition of years of kinship and a deep hunger by our collective group for American roots music.”

“Habbie Doobie,” TX Jelly’s first single is a sweaty, funky and hook driven bit of down home, Southern rock that sounds as though it draws from The Allman Brothers, The Band, Lynyrd Skynyrd and The Black Crowes but with the free-flowing improvised feel of a bunch of old friends jamming and hitting upon a groove, with each individual musician knowing where the other was going next. And while easily displaying the cool, self-assuredness of old pros, the song is a decidedly bold introduction to the band as an individual unit.In fact, interestingly enough the recently released video for “Habbie Doobie” features the members of The Texas Gentlemen jamming and goofing off in their Dallas, TX-based Modern Electric Sound Recorders Studio in a way that you’d almost expect them to do. 

Growing up listening to an eclectic variety of music including Patti Labelle, Jill Scott, Bob James, Stevie Wonder, D’Angelo, Bjork and The Black Crowes among others, up-and-coming, Edmonton, AB-born, Toronto, ON-based soul artist Tanika Charles quickly developed a reputation locally as an emerging solo artist, whose puts a modern spin on the classic Motown soul sound — frequently meshing it with swaggering, hip-hop-like beats and deeply, confessional and honest lyrics, reminiscent of Mary J. Blige, Kelis and others. And as a result, within Canada’s soul scene, Charles has largely been considered her country’s next big thing; in fact, interestingly enough, over the past couple of years Charles transformed from being an emerging solo artist to being a commanding performer and bandleader, as well as one of the scene’s staples. Adding to a growing national profile, Charles has collaborated with Estelle, Lauryn Hill and Macy Gray, and has made regular appearances on CTV, Global and CBC Radio.

Produced by Slakah the Beatchild, best known for collaborating with Drake, Charles’ latest single “Soul Run” is the first single off her self-titled, full-length album, slated for an April 7, 2017 release through Italian soul label, Record Kicks, and the single will further cement the Edmonton-born, Toronto-based singer/songwriter’s burgeoning reputation for crafting confessional lyrics based around her own personal experiences with “Soul Run” based around Charles’ experience of feeling trapped in an emotionally abusive relationship in rural Canada — until she decided to “borrow” her then fiancée’s car and left for Toronto to start her music career, never looking back. Considering the personal nature of the song, Charles as the song’s narrator expresses regret over her own foolishness that wound up with her being hopelessly trapped in an abusive and fucked up relationship and desperate desire to get away and start over. You can almost picture Charles, jumping into the car with whatever possessions she could manage and hitting the road without an idea of where she was going or what would happen — and yet feeling true freedom to do whatever she wanted.

 

 

 

Quietly emerging from the breakup of The Black Crowes, the Chris Robinson Brotherhood played 50 shows over the course of nine weeks in California before officially releasing material or doing any extensive touring outside of the state. With the release of two critically applauded albums Big Moon Ritual and The Magic Door in 2012 and a staggering 118 date tour to support both efforts, the members of the Chris Robinson Brotherhood also quickly received a rapidly growing national profile — and in fact, many critics and media outlets considered the band one of the contemporary standard bearers of the old-school blues rock/psych rock sound. Plus, let’s not forget that Robinson is one of the most soulful white boys on the face of the earth.

The Chris Robinson Brotherhood’s fourth full-length effort, Anyway You Love, We Know How You Feel is slated for a July 29, 2016 release through Robinson’s own label, Silver Arrow Records. As the story goes, the members of the band relocated to California for the writing and recording sessions in a studio that was according to the members of the band located on the side of a mountain, overlooking the foggy Pacific Ocean — and naturally, the members of the band were inspired by the environs. Along with the change of scenery, the sessions were not only their first with their newest summer Tony Leone, who has worked with Ollabelle and the legendary Levon Helm, Robinson left as much open-ended as possible. Rather than coming into the studio with a finished collection of songs ad he had in the past, he presented his bandmates with rough sketches of songs — maybe a verse and part of a chorus, a chord progression here and there and allowed his bandmates the opportunity to improvise and let their collective muses push the material towards the direction it needed to go. As Robinson mentions in press notes the recording sessions for the album were “an opportunity to see where our expression could take us. For us, when it comes to making records, the looser it gets the better. It’s all about taking our intuition and following it to where our ideas can really manifest themselves. This turned out to be the most spontaneous record I’ve ever been a part of.”

Anyway You Love, We Know How You Feel‘s latest single “California Hymn” manages to mesh elements of county, soul, classic rock, gospel and folk music while sounding as though it was equally inspired by The Band, Lynyrd Skynyrd, The Allman Brothers and others in a loose, shambling and shuffling song that possesses an easy-going pious joy over life’s small and intimate pleasures.

The band will be on tour throughout the next three months. Check out tour dates below.

Tour Dates

July 1 – Quincy, CA – High Sierra Music Festival
July 15 – Charleston, SC – The Music Farm
July 16 – Orlando, FL – The Beacham
July 17 – Fort Lauderdale, FL – Culture Room
July 19 – St. Petersburg, FL – The State Theatre
July 21 – Macon, GA – Cox Capital Theatre
July 22 – Augusta, GA – Sky City
July 23 – Wilmington, NC – Greenfield Lake Amphitheater
July 24 – Norfolk, VA – The Norva
July 26 – Asbury Park, NJ – The Stone Pony
July 27 – Annapolis, MD – Rams Head Onstage
July 29 – Fairfield, CT – The Warehouse
July 30 – Beverly, MA – The Cabot
July 31 – Plymouth, NH – Flying Monkey
August 5 – Stowe, VT – The Rusty Nail
August 6 – Hartford, CT – Infinity Hall
August 7 – Newton, NJ – The Newton Theatre
August 25 – Arrington, VA – LOCKN’
September 16 – Morrison, CO – Red Rocks Amphitheater
September 21 – Buffalo, NY – Town Ballroom
September 23 – Pontiac, MI – Crofoot Ballroom
September 25 – Cleveland, OH – Beachland Ballroom
September 26 – Cleveland, OH – Beachland Ballroom
September 29 – Stroudsburg, PA – Sherman Theater
September 30 – Boston, MA – Paradise Rock Club
October 1 – Boston, MA – Paradise Rock Club
October 2 – Syracuse, NY – Westcott Theatre
October 4 – Grand Rapids, MI – The Intersection
October 6 – Cincinnati, OH – 20th Century Theater
October 7 – Nashville, TN – Cannery Ballroom
October 8 – Columbia, MO – The Blue Note
October 9 – Omaha, NE – Slowdown
October 11 – Minneapolis, MN – Varsity Theater
October 13 – Indianapolis, IN – Deluxe @ Old National Center
October 14 – Chicago, IL – Thalia Hall
October 15 – Madison, WI – Majestic Theatre
October 16 – Milwaukee, WI – Turner Hall Ballroom
October 20 – Louisville, KY – Headliner’s Music Hall
October 21 – Charlotte, NC – The Neighborhood Theatre

 

 

 

Since their formation back in the 2007, the Atlanta, GA-based quartet The Pinx, currently comprised of Adam McIntyre (vocals, rhythm guitar), Chance McColl (lead guitar), Jonathan Lee (bass) and Dwayne Jones (drums), have developed a reputation across the Southeast for a relentless touring schedule that had the band opening for the likes of Ben Harper and Relentless7 among others, for songs that have appeared during highlights broadcast on ESPN and Fox Sports, and for a sound that draws heavily from The MC5, Cheap Trick, Led Zeppelin, Motorhead and others — or in other words 70s-leaning arena friendly power chord rock.

After a brief hiatus that saw McIntyre’s stint with fellow Atlanta-based band StoneRider during their European tour and a massive lineup change, the band reformed and with a change of songwriting approach and sonic direction. As McIntyre says of the material he wrote that comprised the band’s forthcoming new album, Freedom: “A lot of the stuff I learned about songwriting during my decade in Nashville came back. Not the formulaic bro-country aspect, but folks like Todd Snider and Dan Baird. Smart, funny guys who write songs that reflect themselves well. I wanted some of that to come through. It all has to mix with the rock & roll and the blues and soul and everything, and I put together a band tailor-made to do just that.” McIntyre also adds ““These songs are all true stories. I tried to write concise, simple little rock and roll songs. This is the set I want to play live.”

Freedom‘s latest single “Baby Won’t Ya” is an Southern double fried, whiskey soaked, The Black Crowes-indebted cover of The MC5 that retains the song’s anthemic, power chord-heavy swagger but with a studio sheen that doesn’t clean up the original’s sleazy dive bar feel.