With Cohort being the second contemporary band I “discovered” in one day, it starts to feel a bit like I’m on a roll with stepping out of my ’60s and ’70s zone. At this time, it’s mostly some music from their new eponymous album I can offer, since there hardly seems to be any public information on this funk-oriented rock band. Cohort don’t even have a Facebook page, which I find somewhat puzzling. The following insights are based on Soundcloud and this YouTubeclip.
Weirdly, just like my previous discovery Dustbowl Revival, Cohort hail from Venice, Los Angeles. What’s up with that? This beachfront neighborhood seems to be a hotbed for music! Cohort’s members include Tula Jussen (guitar, vocals), Josh Lipp (guitar), Miles Tobel (keyboards, saxophone), Jack Ross (bass) and Emilio Anamos (drums). They all seem to be quite young. The above YouTube clip, which was posted in July 2017, introduced them as a “teenage rock band.” But here’s the thing. No matter their age, they sound pretty mature on what seems to be their first full-fledged album.
Check out the following clips. Let’s kick things off with the funky opener Et, which features nice bass, guitar and sax work. This doesn’t exactly sound like some high school band!
Here’s another cool groovy tune: Oddball. Certainly nothing odd about this song.
Okay, do I have your attention? How about a softer tune? It still has a funky sound. Here’s Waiting (Return of the Relaxation).
Let’s do one more track. Here’s the nice closer Santa Ana. It’s another tune with a great groove. I also like the sax intro. Overall, I can hear a bit of a Santana vibe in here, especially if you imagine some congas and other percussion.
What else can I tell you about Cohort? In the above video, Jussen said, “We take a lot of influence from everywhere, Janis Joplin, Kurt Cobain and Jimi Hendrix.” That’s perhaps more obvious for the music they play in the clip than the tracks on this album. I think this talented young band is on a promising path!
Until yesterday, I had never heard of The Moon Jocks. That’s when my music streaming provider served them up as part of a new music mix. I just love to live in my ’60s and ’70s bubble, so admittedly, my expectations about this playlist were quite moderate. Then that tune Have You came on, which is the band’s latest single that was released two weeks ago. There was something about this retro funky sound and the vocals that grabbed me, so I looked up the band and, voila, got to their eponymous debut album, which appeared last June.
To start with, who are these guys? Unfortunately, there is very little information out there. Their Facebook page indicates they are from Philly and provides a link to their website, which is pretty bare-bones as well. Their bio reads, “The Moon Jocks are a Philadelphia-based trio specializing in delivering chill vibes straight to your ear drums.” It also lists their members: Nick DiGiacomo (guitar), Lou DiGiacomo (drums) and David O’Day (vocals). The website also has a tab about the debut album. One can stream it there, which is kind of cool, and also see the credits. So with the scarcity of information, let some music do the talking!
Here’s the opener Take Control. In addition to the above members, the band relied on a bassist named Mike Palardy on this track and most of the other eight songs on the album. O’Day provides both lead and backing vocals on most tunes. I don’t know who writes and arranges their music, but the soft funky wah-wah guitar and the vocals sound pretty cool to me. Check it out!
None of That brings more of that funky guitar. I also like the drum part, which has a ’70s vibe to it – almost sounds a bit like a disco drum! In fact, I would say, retro is an accurate characterization for The Moon Jocks’ overall sound. It’s one of the few tunes where Nick also plays bass.
Next up: Headspace, a largely instrumental piece.
The last track I’d like to call out is called Time Is Electric. It’s another groovy tune.
The album was recorded at Catapult Sound in North Wales, Pa., which is in the Philadephia vicinity. Sound engineer Brett Kull assisted the band with mixing and also did the mastering.
I’m always happy to come across new music I like, and I really dig The Moon Jocks’ sound. What I will say is the music on the album does become a bit repetitive and predictable after listening to the first few tunes. But let’s be honest here: It’s not like my favorite band of all time, i.e., The Beatles, didn’t sound repetitive, especially in their early phase. This is a pretty good studio debut by what looks to me are still fairly young musicians. I’m sure we’ll hear more from these guys.
Here is part 3 of a 4-part mini series of Woodstock clips to supplement my recent post about the festival. The above footage of Sly And The Family Stone is from Woodstock’s third day, Sunday, August 17, 1969. The band’s gig fell into the early morning hours (3:30 to 4:20 am ET, according to Wikipedia).
I Want To Take You Higher was written by front man Sly Stone. The tune is from their fourth studio album Stand!, which appeared in May 1969. It also became the b-side to the record’s single of the record’s title track released during the same year. The song is a great example of the band’s mixture of social messages with high-energy rock, soul, R&B, soul and psychedelia. It is simply impossible to watch this clip without starting to groove.
Formed in late 1966, the band’s members included singer-songwriter, producer and multi-instrumentalist Sly Stone, Sly’s brother Freddie Stone (guitar, vocals), his sister Rose Stone (keyboards, vocals) and his cousin Larry Graham (bass), as well as Cynthia Robinson (trumpet), Greg Errico (drums) and Jerry Martini (saxophone). The Rock & Roll Hall of Fame, into which Sly And The Family Stone were inducted in 1993, called them rock’s first integrated, multi-gender band and Woodstock their greatest triumph.
Sources: Wikipedia, Rock & Roll Hall of Fame, YouTube
Memphis soul, blues and R&B band delivers energetic set at Wonder Bar
Southern Avenue weren’t kidding when they posted on Facebook yesterday, “our show at Jams On The Sand in Asbury Park, NJ has been moved indoors due to tonight’s forecast of severe thunderstorms. We’re still coming in hot though!” The five-piece band from Memphis, Tenn., which blends traditional southern soul and blues with more contemporary R&B, is one of the few bright stars I know in today’s music world, a world I generally find uninspiring. So I was really excited to get the opportunity to see them for the second time last evening.
Initially, Southern Avenue were scheduled to play at Jams On The Sand, a weekly free open air concert series held in Asbury Park during the summer. But the weather gods weren’t kind, and it was great the organizers managed to move the event inside to The Wonder Bar, a well-known local performance venue. While the circumstances were unfortunate and likely decreased attendance, they may well have been a blessing in disguise from a performance perspective. The band had incredible energy and blew the roof off the place. My ears were still ringing this morning!
More frequent visitors of the blog likely know that I have covered Southern Avenue on various occasions since I started paying attention to them about two years ago, for example here, here and and most recently here. Therefore, instead of recapping band’s history and their members yet another time, let’s get to the action right away!
Southern Avenue’s set included a mix of tunes from their two studio albums they have released to date and some covers. Here’s a nice funky song off their most recent record Keep On from May 2019, which is called Switchup. Co-written by guitarist Ori Naftaly and lead vocalist Tierinii Jackson, it’s got a cool vibe that reminds me of Commodores.
Most of the songs the band performed were upbeat tunes, with Tierinii displaying an amazing amount of energy, seemingly feeding off the enthusiastic crowd. Every now and then, they slowed things down a bit, such as with It’s Gonna Be Alright, a tune that appeared on their eponymous debut album from February 2017. It certainly was alright!
Here’s another fun track from Keep On: Jive, which was co-written by Ori, Tierinii and her sister Tikyra Jackson who is the band’s drummer. It’s got a great driving beat and nice instrumental parts that in addition to Ori and Tikyra also feature keyboarder Jeremy Powell and bassist Gage Markey.
Next up: A cool bluesy jam take of The Beatles’ 1969 song Come Together, which blends into Keep On, the title track from Southern Avenue’s latest album. That track is credited to Ori, Tierinii and producer Johnny Black.
The last tune I’d like to call out is Southern Avenue’s usual concert closer Don’t Give Up and, it seems to me, is their signature song. Another track from their eponymous debut album, the powerful tune is one of Tierinii’s highlights, who is not only an incredible vocalist but also a compelling front woman.
In addition to being talented musicians and songwriters, Southern Avenue’s members are nice, approachable and down-to-earth people. Last night, prior to the gig, I chatted for a while with keyboarder Jeremy about their current tour and latest album – such a nice guy! I also ran into Tierinii who spontaneously gave me a hug after mentioning that I had seen them previously in New York last year.
Southern Avenue are a fantastic live band. If anything, their extensive touring has made them even better than the band I saw last August. In addition to touring the U.S. and Canada, they also do gigs in Europe. In fact, they just recently returned from a series of dates spanning various European countries, including England, France and Germany, among others. Tonight, they are playing a blues festival in Nescopeck, Pa. Upcoming gigs include Ottawa, Canada (Jul 13); Scranton, Pa. (Jul 26); Edmonton, Canada (Jul 28); and Mad Creek, CO (Jul 31). The full schedule is here.
Sources: Southern Avenue Facebook page and website; YouTube
Southern Avenue perhaps couldn’t have chosen a better title for their sophomore album. Released yesterday, Keep On continues to effectively draw from different musical backgrounds of the band’s members. Southern Avenue skillfully blend Stax-style soul with blues, R&B, gospel, funk and rock. The result is powerful music combining familiar with new influences and a sound that has noticeably matured and become more distinct since the band’s eponymous debut from February 2017.
The five-piece band from Memphis, Tenn. has been on my radar screen since I listened to the first album about two years ago. I also witnessed what a great live act Southern Avenue are when I saw them in New York City last August. At the time, I briefly chatted with guitarist Ori Naftaly, who mentioned their new album. My anticipation grew further with the release of the lead single Whiskey Love in early April, followed by the appearance of the second single Savior.
For brief background, Southern Avenue were founded in 2015 when Israeli blues guitarist Ori Naftaly met Memphis vocalist Tierini Jackson and her sister Tikyra Jackson, drummer and backing vocalist. Jeremy Powell on keyboards rounds out the band’s core line-up. Bassist Gage Markey has been a touring member for the past couple of years and also plays on the new record. Southern Avenue took their name from a street that runs from East Memphis to “Soulsville,” the original home of Stax Records. While that’s a clear nod to the band’s admiration for the legendary soul label, they are not a Stax revival act.
Keep On features some impressive guests. In this context, I first would like to mention the great horn section comprised of saxophonist Art Edmaiston and trumpet player Mark Franklin. They are an important factor for the above noted more mature sound. Edmaiston has played with artists like Levon Helm and Gregg Allman, while Franklin has supported sessions for the likes of Aretha Franklin, B.B. King, Solomon Burke and Booker T. & the M.G.s. Another prominent guest is William Bell, who is perhaps best known for co-writing Born Under a Bad Sign with Booker T. Jones. The tune was first recorded by Albert King in 1967 and popularized by Cream the following year.
Alright, I think it’s time for some music. Here’s the album’s opener and title track. Co-written by Ori Naftaly, Tierini Jackson and producer Johnny Black, the tune is a nice example of how Southern Avenue blend different genres. Naftaly clearly is a blues guitarist at heart and I can hear some Cream in his cool riff. The horns add a dose of soul while Jackson’s strong vocals throw in some R&B.
Since I previously wrote about the first two singles Whiskey Love and Savior, I’m skipping these great tracks here and jump to the nice funky Switchup. Like the title track, the song is co-credited to Naftaly, Jackson and Black.
Next up: Lucky. Co-written by Naftaly and Jackson, this song has a beautiful retro Stax vibe to it. But, as if to emphasize that Southern Avenue don’t want to be a retro Memphis soul band, Naftaly throws in a fairly rock-oriented guitar solo.
Another great number is Jive, a co-write by Naftaly, Black and both Jackson sisters. I dig the tune’s driving beat, which makes you want to get up and dance. The horns and the backing vocals set great accents.
On the upbeat We’ve Got The Music, William Bell joins Tierini Jackson on vocals. Bell also shares writing credits with Naftaly and her. I like the song’s message about the power of music and how it can bridge differences among people: If you don’t look like me/If you don’t talk like me, that’s alright/We’ve got the music/If you don’t know my face/But you’re feeling the sound, it’s okay/We’ve got the music…
The last track I’d like to call out is the album’s closer We’re Gonna Make It. I think music publication No Depression nicely described the tune in their review of Keep On. “This gospel-inflected song opens with a nod to Sam Cooke’s “A Change is Gonna Come,” and builds a message of love, persistence, and encouragement layer-by-layer. The song takes up where the Staple Singers left off, carrying the torch of hope in a world of darkness and giving us a new anthem for these times.”
“Making this album was an interesting journey,” Ori explained. “Our first album was recorded very fast and released very fast. With this one, we spent a long time planning, and we knew how we wanted it sound. For me, it’s a big progression from the first album.” Added Tierini: “The experience was completely different from making the first one. We learned a lot about each other and a lot about the band.”
One of the cool things about Keep On is that the album was recorded at Sam Phillips Recording. The studio was opened in Memphis in 1960 by no one other than legendary Sun Records founder and producer Sam Phillips, who worked with artists like Elvis Presley, Carl Perkins, Johnny Cash,Jerry Lee Lewis, Roy Orbison and B.B. King. Wow, one can only imagine what it must have felt like for this young band to record in that studio – the thought of it gives me goosebumps!
“The thing that stood out most to me about Southern Avenue is their dedication to making this record ‘the hard way’,” stated producer Johnny Black. “Even in their selection of studios; by picking Sam Phillips Recording, the band, in essence, forced themselves to record within the same parameters as some of their heroes. And while that process may have taken extra time, it was well worth the effort.” In my humble opinion, I think Black is spot on.
Southern Avenue currently is where they seem to be most of the time – on the road. Their tour schedule is packed between now and mid-November and mostly includes U.S. dates. From late May to mid-June, the band is also playing a series of shows in Europe. I have no doubt Southern Avenue will keep on wowing audiences with their performances that are passionate, authentic and humble at the same time. As a communications professional, I also have to commend the band for their effective use of Facebook to build their fan base. I’m planning to catch them again on July 11 during Jams on the Sand, a free outdoor event in Asbury Park, N.J.
Sources: Wikipedia, Southern Avenue website, William Bell website, No Depression, YouTube
Splitting his legs, bouncing his knees, shaking his body, profusely sweating and at times seemingly screaming off the top of his lungs – they didn’t call James BrownMr. Dynamite or The Hardest Working Man In Show Biz for nothing. I was reminded of his incredible performances recently, when my music streaming platform served up one of Brown’s great live albums at the storied Apollo Theater in New York’s Harlem. And voila, an idea for a new blog was triggered!
Brown was born James Joseph Brown on May 3rd, 1933 in Barnwell, S.C. to a 16-year-old mother and a 22-year-old father. The family lived in extreme poverty, and from a young age, Brown essentially took care of himself with hustling to get by. He dropped out of school after sixth grade and began singing at talent shows as a nine-year old. In 1954, Brown joined a gospel group that had been founded by singer Bobby Byrd, which evolved into The Famous Flames. By 1957, they called themselves James Brown and the Famous Flames.
In 1956, The Famous Flames signed a deal with Federal, a Cincinnati-based subsidiary of King Records. In March that year, they released Please Please Please, which eventually became their first hit single reaching no. 6 on the Billboard R&B charts. Co-written by Brown and Flames backing vocalist Johnny Terry, it also was the title track of their debut album from December 1958. A series of follow-up singles went nowhere, and it wasn’t until October 1958 that Brown and his band stroke again with the ballad Try Me – the first of 17 singles topping the R&B chart. According to Wikipedia, Brown has the distinction to be the artist with the most singles on the Billboard Hot 100 without hitting no. 1 – not only do I wonder who comes up with these stats, but I also find this hard to believe, given all the music Brown prolifically released over his 50-year recording career, including so many well-known tunes!
During the late ’60s, Brown started to move away from gospel and soul and became instrumental in shaping funk music. Often referred to as The Godfather of Soul, perhaps a more appropriate title would be “The Godfather of Funk.” In fact, some music critics consider his 1967 tune Cold Sweat to be the first real funk song. Brown continued to record and perform through the 70s, 80s, 90s and early 2000s. He passed away on December 25, 2006 at age 73 from congestive heart failure, resulting from complications of pneumonia.
Let’s hit it with footage from some of Brown’s legendary performances. This clip of Please Please Please is from the T.A.M.I. Show, a concert held in Santa Monica, Calif. on October 28 and 29, 1964. It featured top artists from the U.S. and the U.K., who in addition to James Brown and the Famous Flames included The Beach Boys, Chuck Berry, Gerry & the Pacemakers and The Rolling Stones, among others. The concert was captured in a movie that appeared in December 1964. It’s just mind-boggling to watch Brown in action, repeatedly dropping on his knees and being lifted up by his band mates while seemingly singing himself into a trance-like state.
I Got You (I Feel Good) is one of Brown’s signature tunes. Written by him and first recorded for his 10th studio record Out Of Sight released in September 1964, it also became Brown’s highest charting single on the Billboard Hot 100, peaking at no. 3. The following clip apparently is from a concert in Paris, France in 1966.
Another incredible performance happened in Boston on April 5, 1968. Brown’s show at the Boston Garden took place just one day after the assassination of Martin Luther King Jr. Apparently, the mayor had planned to cancel all public events including Brown’s concert, but in the end the local authorities were more concerned a cancellation could trigger unrest and allowed the event to go ahead. Here’s the above noted Try Me, a beautiful soulful tune written by Brown, which like Please Please Please appeared on the debut album. Check out Brown’s moves at around 1:30 minutes into the song. You can literally picture him starting to launch into the moonwalk at any moment!
Next up: A great medley of Cold Sweat and Ride The Pony (Mother Popcorn) from the same 1968 gig in Boston. Cold Sweat was co-written by Brown and the leader of his backing band Alfred “Pee Wee” Ellis. It also became the title track to his 21st studio album released in August 1967. It’s simply impossible to listen to this tune without starting to groove, especially when watching Brown’s dance moves.
A post about James Brown’s live performances wouldn’t be complete without one of his biggest concert staples: Get Up (I Feel Like Being A) Sex Machine. It’s perhaps the ultimate funk tune. First released in July 1970 as a two-part single, Sex Machine was co-written by him; Bobby Byrd, who by then had become the keyboarder of Brown’s new band The J.B.s; and Brown’s recording engineer Ron Lenhoff. The guitar part is performed by Phelps “Catfish” Collins and one of the coolest funk riffs in my book. It’s also propelled by the terrific rhythm section of Phelps’ brother William “Bootsy” Collins on bass and drummer John “Jabo” Starks. The following footage apparently was captured sometime in 1971.
To me James Brown is in the same group of extraordinary artists like Elvis Presley and Michael Jackson who pushed stage performances to a new level. Brown has received many honors, including inductions into the Rock and Roll Hall of Fame and Songwriters Hall of Fame. He’s included at no. 7 in Rolling Stone’s list of the 100 Greatest Artists of All Time. According to the music magazine, Brown is also the most sampled music artist of all time.
Eleventh studio album illustrates that after 30 years Kravitz maintains his gift to combine retro with modern sounds and write catchy tunes
Somehow I completely missed Lenny Kravitz’s new album Raise Vibration when it was released on September 7. I guess I should perhaps subscribe to a music publication to better stay on top of new music, except of course I’m not into most music that’s coming out these days. Anyway, I “discovered” Raise Vibration earlier today after I had seen a related clip on Facebook. Most of the reviews I read were quick to point out Kravitz’s 11th studio release doesn’t break any new ground. I mostly agree and that’s just fine with me.
I feel many critics have given Kravitz a hard time since he emerged in September 1989 with Let Love Rule. Some have said his music too much reflects his ’60s influences like Jimi Hendrix or early Led Zeppelin. Last time I checked both were among the most outstanding artists on the planet. Some folks have maintained Kravitz doesn’t sound black enough, while others have found he sounded too white. All of this is complete and utter nonsense, in my opinion!
When I look at Kravitz, I see an incredibly talented artist who writes, sings and produces his own music. Oh, and apart from being a capable guitarist, he also plays most of the other instruments on his records. Most importantly, Kravitz has the gift to mix retro elements with modern sounds and write catchy tunes. All of these qualities are present on Raise Vibration, his first new album in four years since Strut from September 2014.
But evidently, Kravitz found himself in a very different place three years ago after he had finished his last world tour, he toldRolling Stone in April this year. “I really wasn’t sure where I was going musically,” Kravitz explained. “After doing this for 30 years, I wasn’t feeling it. I’d never felt that confused about what to do. And it was kind of a scary place. You don’t know when it’s going to come.” While there are techniques that can stimulate creativity, ultimately, you can’t force it.
Kravitz bravely rejected the advice from others to collaborate with producers and songwriters who know how to score hits. “I’ve never really worked that way, following trends or doing what people think you should do,” he further noted to Rolling Stone. “I’ve always made music that came naturally out of me.” And fortunately that’s exactly what happened when one night Kravitz woke up at 4:00 am in his house in the Bahamas with a song in his head, which would become Low, one of the standouts on the album. It proofed to be the catalyst he needed to spur his artistic creativity. “I learned you have to trust yourself and the artist in yourself. Always trust what you have.” Yes! And with that let’s get to some music.
I’d like to kick things off with the above mentioned Low. Like all other tunes on Raise Vibration except for two, it was written by Kravitz. The song also became the second single released ahead of the album on May 29. If the “oohs” in the track sound like Michael Jackson, that’s because it features posthumous, presumably sampled “guest vocals” from the King of Pop. This is one great funky tune!
Next up: The album’s title track. I just love the guitar sound and the cool breaks on that track. The native American chants and drums toward the end ad an unusual element. So much for not breaking any new ground!
Johnny Cash, a moving tribute to the country legend, is based on an encounter Kravitz had with the Man in Black and his wife June Carter Cash in 1995, when they were all staying at producer Rick Rubin’s apartment in Los Angeles. At the time his mother was receiving treatment for breast cancer. After getting a call from the hospital that this mom had passed away, Johnny and June consoled Kravitz. “…they decided at that moment (to) treat me like they would treat someone in their family,” Kravitz said during a BBC interview, as reported by Music-News.com. “It was a beautiful moment of humanity and love.”
Another gem on the album is Here To Love, a nice piano-driven ballad.
The last tune I’d like to call out is It’s Enough, which also became the album’s lead single released on May 11. It’s got a cool Marvin Gaye vibe that lyrically is reminiscent of What’s Going On with a bass line that sounds like it could have been inspired by Inner City Blues (Make Me Wanna Holler). Also check out the horns that start at around 6 minutes into the song: nice touch of ’70s Temptations – super cool!
Like he usually does, Kravitz produced the album and plays most of the instruments. Other than string and horn players, the only other musicians are longtime collaborator and guitarist Craig Ross, who also co-wrote two of the tracks with Kravitz, as well as keyboardist and orchestrator David Baron. Kravitz is supporting the album with a world tour. The 2018 section started in April ahead of the record’s release and mostly focused on Europe. It also included 10 dates in the U.S., which wrapped up in Las Vegas in late October. According to the schedule, the tour will resume in March 2019 with a series of gigs in South America before traveling back to Europe. Currently, the last date is June 11, 2019 in London, U.K.
Sources: Wikipedia, Rolling Stone, Music-News.com, Lenny Kravitz website, YouTube