Tag: The Budos Band

New Audio: Daptone Records Release an All-Star Collaboration to Celebrate Their 100th 45RPM Single

The renowned indie soul label Daptone Records was founded back in 2001 when its founders, Gabriel Roth and Neal Sugarman wanted to build a new home for their bands’ respective releases after Desco Records folded. Shortly, after label’s founding, Roth, Sugarman, Charles Bradley and Sharon Jones and a collection of artists found an unassuming, beaten up, two family 19th Century brownstone in Bushwick, Brooklyn that would eventually become the home to their new label and their famed House of Soul Studios. And through the release of 50 full-length albums and about 100 singles on 45RPM, the Brooklyn-based soul label built a globally recognized reputation for its discerning tastes and uncompromising standards of quality, realizing exceptionally well-crafted and thoughtful soul records, made by a close family of musicians, who share a common musical philosophy, vocabulary and integrity. 

Since their formation, the label has sold over a million records from their roster of artists including JOVM mainstays Sharon Jones & The Dap Kings, The Budos Band, Antibalas, Menahan Street Band, The Sugarman 3 and Naomi Shelton. Although many of the label’s artists have never quite achieved mainstream pop status, the label’s roster have managed to influence artists and labels around the world, including the likes of Amy Winehouse, who worked with The Dap Kings on her seminal album Back to Black, as well as Mark Ronson and Jay-Z, who have tapped the label’s sound for some of their biggest hits. 

Daptone’s 100th 45RPM release is slated for a June 28, 2019 release. And interestingly, the  A-side single “Hey Brother,” which is credited to the Daptone Family features a a historic and unprecedented collaboration of the label’s roster of incredible talent, including the late and beloved monarchs of the soul, Charles Bradley and Sharon Jones, as well as Saun & Starr, The Frightnrs, James Hunter, Naomi Shelton, Amayo and Lee Fields performing together for the first and only time on record. The single finds each of those artists singing a powerful and much-needed message of righteousness and brotherhood over a What’s Going On Marvin Gaye-era like groove played by members of The Dap Kings and Menahan Street Band. 

Written and recorded by The Frightnrs, “Hey Brother (Do Unto Others)” initially appeared on their acclaimed full-length debut, Nothing More to Say. With the band’s Dan Klein tragic death from ALS just before the album’s release, the label and its artists felt it would be both a thank you to the label’s deeply devoted fans and a fitting tribute to Klein to re-imagine the track as a soulful, All-Star team-like collaboration. Sadly, in the aftermath of the deaths of Charles Bradley, Dan Klein, Cliff Driver and Sharon Jones, the single has become a meditative and loving tribute to all of the artists they’ve lost in a tremendously short period of time. 

“Everybody seemed to really love the idea of being together on a record like that,” Gabriel Roth recently told Billboard. “Every one of those singers that I asked, after I explained what we were trying to do. they really jumped through hoops to try to make it happen.” 

New Audio: JOVM Mainstays The Budos Band Release a Forceful and Funky New Track

Over the past handful of years, I’ve written about and photographed the acclaimed Staten Island-based instrumental act and JOVM mainstays The Budos Band a number of times. And as you may recall, the act, which is comprised of Jared Tankel (baritone sax), Tom Brenneck (guitar), John Carbonella (congas, drums), Mike Deller (organ), Daniel Folder (bass), Andrew Greene (trumpet), Rob Lombardo (bongos, congas), Brian Profilio (drums) and Dame Rodriguez (percussion) initially developed a reputation for a sound that they described as “Afro Soul,” which draws from Ethiopian music, classic soul and funk; however, with the most band’s most recent releases, their sound has evolved towards what they’ve referred to as “70s Psychedelic Instrumental Music.”Now, as you may recall, the acclaimed Staten Island-based act’s fifth full-length album, the aptly titled V is slated for release next week through their longtime label home Daptone Records, and as the band’s Tom Brenneck says in press notes, the band’s forthcoming album feels like the truest sonic representation of the band as the material possesses the rock ‘n’ roll/heavy metal elements off of 2014’s Burnt Offering, as well as songs that could have easily been found on their first three albums.  The album’s first single “Arcane Rambler” featured a composition that nodded at hip-hop, 70s fuck, Afro funk and psych rock — and in a way that found them at arguably their loosest and trippiest.  V‘s second single was the Ennio Morricone-like “Veil of Shadows,” a composition that’s centered around reverb-drenched guitar, shimmering and soaring organs and a big Western/Mexican-like horn arrangement — and as a result, the track possesses a cinematic quality; in fact, to my ears, it sounds as though it should have been part of the soundtrack for Kill Bill.Just before their two night NYC area run — April 5, 2019 at the Bowery Ballroom and April 6, 2019 at Music Hall of Williamsburg — the Staten Island-based JOVM mainstays released V’s third and latest single, the menacing “Maelstrom” brings several disparate things to mind — the Fela meets Black Sabbath power chord-based arrangements of Here Lies Man, a lysergic-tinged Morricone meets Quentin Tarantino Western.  The expansive composition features their imitable and explosive horn line, reverb-drenched guitar and a propulsive rhythm section, giving the track a forceful yet funky muscle.  

New Audio: The Budos Band Return with an Ennio Morricone-like New Single

I’ve written and photographed the acclaimed Staten Island-based instrumental act The Budos Band a number of times over the years, and the act which is comprised of Jared Tankel (baritone sax), Tom Brenneck (guitar), John Carbonella (congas, drums), Mike Deller (organ), Daniel Folder (bass), Andrew Greene (trumpet), Rob Lombardo (bongos, congas), Brian Profilio (drums) and Dame Rodriguez (percussion) initially developed a reputation for a sound that they described as “Afro Soul,” which draws from Ethiopian music with a soul undercurrent, and some sound of the sounds of the 60s; however, with the most band’s most recent releases, their sound has evolved towards what they’ve referred to as “70s Psychedelic Instrumental Music.”

Now, as you may recall, the acclaimed Staten Island-based act’s fifth full-length album, the aptly titled V is slated for an April 12, 2019 release through their longtime label home Daptone Records, and as the band’s Tom Brenneck says in press notes, the band’s forthcoming album feels like the truest sonic representation of the band as the material possesses the rock ‘n’ roll/heavy metal elements off of 2014’s Burnt Offering, as well as songs that could have easily been found on their first three albums.  The album’s first single “Arcane Rambler” featured a composition that nodded at hip-hop, 70s fuck, Afro funk and psych rock — and in a way that found them at arguably their loosest and trippiest.  V’s latest single is the Ennio Morricone-like “Veil of Shadows,” a composition that’s centered around reverb-drenched guitar, shimmering and soaring organs and a big Western/Mexican-like horn arrangement — and as a result, the track possesses a cinematic quality; in fact, to my ears, it sounds as though it should have been part of the soundtrack for Kill Bill. 

New Audio: The Budos Band Release a Funky and Cinematic New Single

I’ve written and photographed the acclaimed Staten Island-based instrumental act The Budos Band a number of times over the years, and as you may recall the which is comprised of Jared Tankel (baritone sax), Tom Brenneck (guitar), John Carbonella (congas, drums), Mike Deller (organ), Daniel Folder (bass), Andrew Greene (trumpet), Rob Lombardo (bongos, congas), Brian Profilio (drums) and Dame Rodriguez (percussion) initially developed a reputation for a sound that they described as “Afro Soul,” which draws from Ethiopian music with a soul undercurrent, and some sound of the sounds of the 60s; however, with the band’s most recent releases, they’ve moved towards what they’ve referred to as “70s Psychedelic Instrumental Music.” 

The acclaimed instrumental act’s fifth album, aptly titled V is slated for an April 12, 2019 release through their longtime label home Daptone Records, and as the band’s Tom Brenneck says in press notes, the band’s forthcoming album feels like the truest sonic representation of the band as the material possesses the rock ‘n’ roll/heavy metal elements off of 2014’s Burnt Offering, as well as songs that could have easily been found on their first three albums.  The album’s latest single, the cinematic  “Arcane Rambler” is centered around a looping and whirring guitar line, boom bap-like percussion, an enormous horn line and a propulsive and incredibly tight groove — and interestingly enough, the composition, which nods at hip-hop, 70s funk and psych rock finds the members of the collective at arguably their loosest and trippiest.

New Video: Dunham Records Release a Funky Single from Charles Bradley’s Posthumous “Black Velvet”

Throughout the bulk of this site’s 8 plus year history, I’ve written a lot about the Charles Bradley, the late, Brooklyn-based soul singer and JOVM mainstay who led a remarkable life, overcoming difficult and overwhelming adversity achieve success and international acclaim late in his life, thanks in part to the release of the documentary Charles Bradley: Soul of America, three full-length albums 2011’s No Time For Dreaming, 2013’s Victim of Love and 2016’s Changes, and a powerful, heartfelt live show.  Interestingly, Bradley throughout his relatively short recording career wound up playing a larger-than-life role in pop culture; Bradley was a prominent figure in the Daptone Records live documentary, Living on Soul filmed during the Daptone Records Soul Revue shows back in 2014 at the legendary Apollo Theater; performed on Netflix’s Luke Cage; was the singing voice of Minstrel Krampus on American Dad; and he had tracks featured on a number of films and TV shows, including the title tracks for Netflix’s Big Mouth, HBO’s Barry and more.

And honestly, although those successes came late in his life, none of them should be surprising because what drew so many fans, critics and others towards him was the fact that understood that the great pain and tribulations of his life were a cry for  universal love, brotherhood and empathy. He preached it passionately and constantly — and as many would say, it seemed that he believed that if he loved harder, more passionately, and just more — if we all just loved each other a bit more — we could make the world a much better place. Certainly, in a seemingly dark and cynical world in which humanity is inching towards its annihilation, we could use more Charles Bradleys, more Sharon Joneses, too.

November 5, 2018 would have been Charles Bradley’s 70th birthday and in celebration of the man, his life and his music, Dunham Records will posthumously release his fourth and final album Black Velvet on November 9, 2018.  Featuring 10 tracks lovingly curated by his friends, bandmates and family, the album chronologically spans Bradley’s recording career — but instead of a greatest hits-like anthology or a rehashing of say, several different versions of known and beloved songs, the album focuses on deeper, mostly unreleased cuts recorded during the sessions from each of Bradley’s three albums. The album will include highly sought-after and beloved covers including his takes on Nirvana‘s “Stay Away,” Neil Young‘s “Heart of Gold,” Rodriguez‘s “I’ll Slip Away,” and an alternate full-band electric version of “Victim of Love,” among others.

Of course, in many ways, the album documents the friendship and collaboration shared between Bradley and longtime collaborator, producer and co-writer Tommy Brenneck. As Brenneck explains, Black Velvet‘s first single “I Feel A Change” was recorded during the Victim of Love sessions. “Horns and organ were recorded later adding a haunting beauty to the otherwise a cappella intro. The lyrics are 100% Charles. Personal yet abstract. Directly from the heart. He truly loved the expression ‘going through changes’ and this was a few years before we would record our rendition of Sabbath‘s ‘Changes‘ with the Budos. Sadly Charles never got to hear the finished version of this beautiful song.”

“I Feel a Change” is classic Charles Bradley — the Screaming Eagle of Soul’s imitable vocals passionately expressing desire, frustration and heartache within a turn of a phrase, pleading in a deeply confessional fashion to you. Of course, Bradley’s vocals are paired with a slow-burning, sensual arrangement that feels eerily spectral yet urgent and necessary. The album’s second single “Luv Jones” is arguably the funkiest and most ecstatic track on Black Velvet, a track centered by an explosive horn line, a propulsive rhythm section, burst of organs and Bradley’s vocals crooning about love and needing his love in that old school fashion. Certainly, in light of the fact that we often live in such a dark, cynical and place, we need more sweet, good natured love songs. The man may not be with us but his spirit is forcefully vital and with us, just when we need it the most. Long live Charles Edward Bradley, y’all! Long live Charles Edward Bradley!

To celebrate Charles Bradley’s life and music, a number of Charles Bradley-themed murals will be painted in a number of cities across the world and the recently released accompanying video features a mural painted by Joe Miller in Chicago shot in time-lapse. 

New Video: The Ass Kicking Visuals for Electric Citizen’s “Hide It In The Night”

With the release of 2014’s full-length debut Sateen, the Cincinnati, OH-based quartet Electric Citizen, currently comprised of husband and wife duo, Laura Dolan (vocals) and Ross Dolan (guitar), along with Nick Vogelpohl (bass) and Nate Wagner (drums), received attention across the blogosphere and elsewhere for a sound that owes a debt to Led Zeppelin, Black Sabbath, early 70s Rush and others. Building upon a growing profile, the band went on a busy schedule of touring both nationally and internationally with several renowned acts, including Fu Manchu, Wolfmother, The Budos Band, and Pentagram. The quartet’s critically applauded sophomore effort, 2016’s Higher Time found the band expanding upon their sound, as they were crafting muscular and anthemic hooks around prog rock-like structures but while retaining the conciseness of its predecessor. Additionally, the band’s sophomore album found Laura Dolan stepping up into more of a traditional frontperson role, which was reflected during the tour to support Higher Time as she strutted, stomped and swaggered across the stage with a larger-than-life confidence.

The band’s third, full-length effort Helltown was released through RidingEasy Records last month, and the album derives its name from the neighborhood in which the bandmembers live, practices and where the album was written, recorded and mixed. Now more prosaically known as Northside, Helltown earned its name in the early 1800s. thanks to a reputation for the rowdy taverns frequented by the neighborhood’s factory workers and immigrants. And while being an ode to the band’s neighborhood and its buried past, the album is also a decided return to form, employing a much grittier sound that in some way recalls their debut. Additionally, the album finds the band returning to their original lineup. As the band’s Laura Dolan says in press notes, “In many ways this album is a realignment to the first,” Laura says. “We experimented a lot on the second album, some of which we learned we didn’t like.”

“Hide It In The Night,” Helltown‘s first single is centered around Black Sabbath and Led Zeppelin power chords, thundering drumming, arena rock friendly hooks and Laura Dolan’s rock star belter vocals — and while heavily indebted to its influences, the track will further cement the Cincinnati-based band’s reputation for tough, gritty, power chord rippers with an anthemic, larger-than-life feel. Further emphasizing the gritty vibe of the song, the recently released video is centered around a brutal, winner-take-all street fight that the members of the band watch with a insouciant cool.

New Audio: Electric Citizen Releases a Black Sabbath-like New Single

With the release of 2014’s full-length debut Sateen, the Cincinnati, OH-based quartet Electric Citizen, currently comprised of husband and wife duo, Laura Dolan (vocals) and Ross Dolan (guitar), along with Nick Vogelpohl (bass) and Nate Wagner (drums), received attention across the blogosphere and elsewhere for a sound that’s indebted to Led Zeppelin, Black Sabbath, early 70s Rush and others. Building upon a growing profile, the band went on a busy schedule of touring both nationally and internationally with several renowned acts, including Fu Manchu, Wolfmother, The Budos Band, and Pentagram.

The Cincinnati heavy psych rock/heavy metal quartet’s sophomore effort, 2016’s sophomore effort Higher Time found the band expanding upon their sound, as they were crafting muscular and anthemic hooks around prog rock-like structures — within concise songs that typically clocked in at around 3 minutes or so. Additionally, the album found the band’s Lauran Dolan stepping up into more of a frontperson role, which was reflected in their live shows to support their sophomore effort, as she strutted, stomped and swaggered with a larger-than-life confidence. And unsurprisingly, the album was released to massive critical applause from the likes of Consequence of Sound, who placed it on their 20 Most Anticipated Albums of 2016.

Slated for a September 28, 2018 release through RidingEasy Records, Electric Citizen’s forthcoming, third full-length effort Helltown derives its name from the neighborhood in which the members of the band live, practices and where the album was written recorded and mixed. Although now more prosaically known as Northside, Helltown earned its name in the early 1800s. thanks to a reputation for the rowdy taverns frequented by the neighborhood’s factory workers and immigrants. And while being an ode to the band’s neighborhood and its buried past, the album reportedly is a sonic return to form with the band employing a grittier sound along the lines of their 2014 debut. Adding upon the overall homecoming theme, the band returns to their original lineup. As the band’s Laura Dolan says in press notes, “In many ways this album is a realignment to the first,” Laura says. “We experimented a lot on the second album, some of which we learned we didn’t like.”

“Hide It In The Night,” Helltown‘s first single is centered around Black Sabbath and Led Zeppelin power chords, thundering drumming, arena rock friendly hooks and Laura Dolan’s rock star belter vocals — and while heavily indebted to its influences, the track will further cement the Cincinnati-based band’s reputation for tough, gritty, power chord rippers with an anthemic, larger-than-life feel. Interestingly, the album’s latest single “New Earth” is centered around a blistering, bluesy power chord riff, thundering drumming, arena rock-friendly hooks, and Dolan belting her lungs out. Arguably, the song is one of the most straightforward, riff-centered Black Sabbath-like singles they’ve released in some time time. It’s a certifiable headbanger that’s perfect for drinking way too much in your local bar or while catching them live.