R&B – Page 2 – 7th Level Music

Review: JayWood – Slingshot

Jeremy “JayWood” Haywood-Smith went through a lot, like all of us, in the last three years but he had an added gut punch to the mess – the death of his mother in 2019. He, again like all of us, wanted to put those times behind him, but he realized he needed to take an honest look back to move forward, which inspired the name of his newest album, Slingshot.

The album’s overarching story takes place in one day and covers topics ranging from childhood to religion to racial violence, and the musical styles across the record cover as much ground, if not more. “God Is a Reptile” is a bumping, thumping track with psychedelic guitar flourishes and trance bass while he encourages us to not beat ourselves up over trivial crap. In fact we should, as the next track suggests, “Pray, Move On.” “All Night Long” seems to skewer people who will party their lives away while the planet crumbles around them. The fact that JayWood makes it a lovely dance track only emphasizes the ironic point.

“Just Sayin'” has JayWood and Ami Cheon singing us a danceable Zen lesson with funky grooves and lyrics like “I’m not thinkin’ ’bout the future. We can’t go down that path. ‘Cause I’m just rooted in the here, the now, the black, the brown, the truth…” “Is It True (Dreams Pt. 3)” has a great mix of hand percussion, processed beats, soothing bass, clockwork guitars, and pulsing synths as JayWood wonders if love is real. His vocals get trippy and drippy on “Kitchen Floor” – a lyrically scalding track that has JayWood shaking up white folks, black folks, his friends, himself, and apathy in general.

“Shine” (with co-vocalist McKinley Dixon) is a plea let black people just live their lives. “Tulips” seems to be a song directed toward a lady who JayWood sees at church now and then, but it might be directed toward God – who really is the same person. He encourages us on “YGBO – Interlude” that “If you’re healing, you’re gonna be okay.” “Thank You” is a song for his “dearly parted” mother and other people he’s lost, and we’ve all lost, in the last three years. “I just want to thank you for the best years of my life,” JayWood sings, and you can’t help but clap along with him. His lyrics about dealing with grief are spot-on: “Here’s hoping time will help when feeling low. Here’s hoping it’s not that bad thinking you’re in heaven now. So I’ll just keep my head in the clouds. Seems hard to go down roads I’ve never known. Seems hard to flow forward, not thinking about what happens now, but Imma do my best to make you proud.”

Amen.

Keep your mind open.

[I’m just sayin’ you should subscribe, that’s all…]

[Thanks to Sam at Pitch Perfect PR.]

Rochelle Jordan announces remix album of “Play with the Changes” out September 16, 2022.

Los Angeles-based artist Rochelle Jordan announces Play With The Changes Remixed, a reimagination of her acclaimed 2021 album Play With The Changes, out September 16th on Young Art Records. In conjunction, Jordan unveils its lead single, “Love You Good (Remix)” ft. LSDXOXO and announces a fall North American tour supporting Channel Tres. A year after Play With The Changes and her recent sold-out headline tour, which also included select dates opening for Kaytranada, Jordan taps him along with Sango, Byron The Aquarius, Soul Clap, and more to expand on the album’s futuristic sonic landscape. “Love You Good (Remix)” finds Jordan and LSDXOXO’s vocals intertwining atop an irresistible beat, reiterating Jordan’s original thesis for Play With The Changes: without experimentation, innovation is impossible.

Listen to “Love You Good (Remix)” ft. LSDXOXO

Defying categorization to create a project full of slinky, dancefloor-packing burners that channel her U.K. roots, Play With the Changes is reminiscent of Jordan’s childhood nights spent listening to her brother’s 2-step hymns from the other side of the wall. Garnering year end praise from Billboard, Bandcamp, and more, Play With The Changes presents Jordan as a modern heir in a lineage of powerhouse vocalists with style and imagination.

Pre-order Play With The Changes Remixed

Play With The Changes Remixed Tracklist:
1. Situation (&Me Remix)
2. Dancing Elephants (DJ Minx Remix)
3. Got Em (Sango Remix)
4. Count It (KLSH Remix)
5. All Along (Kaytranada Remix)
6. Nothing Left (Kingdom Remix)
7. Lay (Machinedrum Remix)
8. Love You Good (Remix) ft. LSDXOXO
9. Next 2 You (Sinistarr Remix)
10. Already (Things You Say Remix)
11. Broken Steel (Soul Clap Remix)
12. Something (Byron The Aquarius Remix)

Rochelle Jordan Tour Dates:
(all dates supporting Channel Tres)
Tue. Sep. 27 – Phoenix, AZ @ Crescent Ballroom
Wed. Sep. 28 – Albuquerque @ Electric Playhouse
Fri. Sep. 30 – Austin, TX @ Emo’s
Sat. Oct. 1- Dallas, TX @ The Echo
Sun. Oct. 2 – Houston, TX @ Warehouse Live – Studio
Tue. Oct. 4 – Atlanta, GA @ Variety Playhouse
Thu. Oct. 6 – Detroit, MI @ Leland City Park
Fri. Oct. 7 – Toronto, ON @ Phoenix Concert Hall
Sat. Oct. 8 – Montreal, QC @ S.A.T
Tue. Oct. 11 – Philadelphia, PA @ Underground Arts
Thu. Oct. 13 – Washington, DC @ Culture
Fri. Oct. 14 – New York, NY @ Brooklyn Steel
Tue. Dec. 6 – Los Angeles, CA @ The Fonda Theater
Wed. Dec. 7 – Los Angeles, CA @ The Fonda Theater
Sat. Dec. 10 – San Luis Obispo, CA @ The Fremont Theater
Wed. Dec. 14 – Portland, OR @ Wonder Ballroom
Thu. Dec. 15 – Seattle, WA @ The Showbox
Fri. Dec. 16 – Vancouver, BC @ Celebrities Nightclub

Keep your mind open.

[Why not subscribe while you’re here?]

[Thanks to Sam at Pitch Perfect PR.]

We can now hear Charles Stepney’s original 4-track demo of “That’s the Way of the World.”

Today, Chicago label International Anthem presents “That’s The Way of the World,” the latest track off Step on Step, the forthcoming double LP collection of home recordings by the late and under-sung legend Charles Stepney, out September 9th. This recording of “That’s The Way of the World” encapsulates an iconic piece of music history: the eventual studio version of the song, co-written by Stepney and Earth, Wind & Fire’s Maurice and Verdine White, and arranged by Stepney for the EWF album and film of the same name, would become one of the biggest recordings ever released by the band. Deemed one of the 500 Greatest Songs of All Time by Rolling Stone, this original 4-track demo version of “That’s The Way of the World” offers an unprecedented look into Stepney’s creative process, and helps us understand what EWF lead singer Philip Bailey meant when he said in 2001: “The success of Earth Wind & Fire, and all our great songs that we made in that era, would not, could not, and wouldn’t have been made without Charles Stepney. He was very much an equal part, or more, than all of us put together.”

Listen to “That’s The Way of the World”

The digital cover art for today’s “That’s The Way of The World” is an old family photo of Stepney’s youngest daughter Chanté (who was just a toddler when her father passed away in 1976), in a high chair at their family home on the Southside of Chicago. About the photo, Chanté says: “People often ask if I’m sad that I don’t remember him, and while I wish I could recall more, my family has done an amazing job with giving me a full understanding of who he was as a man, father, musician, etc… I’m told wonderful stories of how he would prepare my breakfast and put me in the high chair to eat. A couple years ago, Shirley Wahls told me that the lyrics to “That’s the Way of the World” were partially inspired by my birth… Everyone thought it was pretty cool that Charles and Rubie were having a BABY at their age!”

The forthcoming Step on Step, Charles Stepney’s de-facto debut album that releases almost 50 years since his passing, features 23 tracks, most of which are original compositions by Stepney that were never again recorded by him or any other artist. It also features prototypical, seedling-style demos of Stepney compositions for Earth, Wind & Fire, including today’s “That’s The Way of The World,” “Imagination,” and “On Your Face,” as well as the original version of “Black Gold,” which would eventually be recorded by Rotary Connection (as “I Am The Black Gold of The Sun,” with lyrics by Richard Rudolph).

The album’s announcement and lead singles “Step on Step,” “Daddy’s Diddies,” and “Look B4U Leap” has brought on excitement from many longtime fans of Stepney’s work, including most recently Tyler The Creator, who played “Daddy’s Diddies” on a recent NTS Radio show while bantering: “Charles Stepney…Genius!”

All of the otherwise unrecorded, previously unnamed original compositions contained on Step on Step were given their titles by Stepney’s daughters Eibur, Charlene, and Chanté Stepney, whose voices are also heard throughout the album, telling stories and sharing memories about their father.

In celebration of Step on Step, The Stepney Sisters and International Anthem are hosting a series of events across Chicago this summer. Dubbed the “Summer of Stepney,” these events will extend through September and include performances by a new large ensemble – Rotary Connection 222 – under the musical direction of International Anthem recording artist Junius Paul. Rotary Connection 222 was created by Paul in collaboration with the Stepney Sisters, and in its current state features Makaya McCraven (drums), Jackson Shepard (guitar), Alexis Lombre (keys), Meagan McNeal (vocals), and Stepney’s granddaughter Brandice Manuel (vocals), with new arrangements written by De’Sean Jones and Jeff Parker.

Summer of Stepney highlights will include a series of documentary webisodes created by filmmaker Brian Ashby (Scrappers, The Area, Hairy Who & the Chicago Imagists), in-stores, live streams, interviews, and an August 18th show called Charles Stepney: Out of the Shadows on Chicago’s grandest public performance stage, the Jay Pritzker Pavilion at Millennium Park.

The next Summer of Stepney event is a day party at iconic Chicago record store Dusty Groove on Saturday July 23rd, featuring DJ sets by Wax Poetics writer Ronnie Reese, and more.

For more information about Charles Stepney, Rotary Connection 222, Summer of Stepney events, and the Charles Stepney: Out of the Shadows performance at Millennium Park, visit www.summerofstepney.com.

Pre-order Step on Step

Listen to “Step on Step” by Charles Stepney

Listen to “Daddy’s Diddies” by Charles Stepney

Listen To “Look B4U Leap” by Charles Stepney

Keep your mind open.

[Step on over to the subscription box while you’re here.]

[Thanks to Jacob at Pitch Perfect PR.]

JayWood is “Just Sayin'” on his new single.

JayWood – the moniker of Winnipeg musician & songwriter Jeremy Haywood-Smith – announces his new album, Slingshot, out July 15th on Captured Tracks, and shares its lead single/video, “Just Sayin.” Since 2015, JayWood has captured the young writer’s journey of self-discovery and heartache through unique songwriting and an ever-evolving sound. After the loss of his mother in 2019 and a global standstill with multiple social crises throughout 2020, Haywood-Smith yearned for forward momentum. “The idea of looking back to go forward became a really big thing for me—hence the title, ‘Slingshot,’” Haywood-Smith explains. Feeling disconnected from his past and ancestry after the death of a parent, Haywood-Smith made a conscious effort to better understand his identity and unique Black experience living in the predominantly white province of Manitoba. Through a year of self-reflection and reconnection with his roots, Haywood-Smith has made the biggest leap forward for JayWood by simply looking back. Slingshot is a self-portrait of JayWood at his surface and his depths, merging fantasy scenarios, personal anecdotes, and infectious pop and dance instrumentals.

The narrative for Slingshot takes place in the span of one day. From the first track to the last track, JayWood takes you on a journey that touches on themes of childhood, religion, and identity. While writing and recording the album, Haywood-Smith put together a complex “script” mapping out all of the plot points, environments, characters that make up this surreal version of his real life. Musically, Haywood-Smith wrote and performed a bulk of the track’s instrumentations, but the LP has notable appearances from Canadian contemporaries Ami Cheon and Mckinley Dixon, and fellow Manitoban musician Kayla Fernandes who fronts the doom-metal band Vagina Witchcraft. One song was co-produced with Jacob Portrait of Unknown Mortal Orchestra.

Today’s “Just Sayin” was originally written by Haywood-Smith with the intention to be given to another artist to perform, but he pushed himself to expand his vocal range and embody the confidence that pop music requires for the track. “The song is about creating equal opportunity for people in need, and lending a helping hand if you can,” says Haywood-Smith. “It’s a super simple thought that I think could easily get overlooked, but having a catchy reminder like this might subliminally provoke some thought.”

Watch JayWood’s Video for “Slingshot”

Jeremy Haywood-Smith was born and raised in the Canadian prairies, spending most of his life in the city of Winnipeg. He taught himself how to write and record during the early days of the JayWood project, but has developed through challenging himself to never fear change. Despite the culturally homogenous nature of his hometown, Haywood-Smith takes inspiration from a wide range of Black performers and artists working in all genres and eras. For Slingshot, visionary artists like Kendrick Lamar inspired Haywood-Smith’s approach to storytelling and world-building. “I love Kendrick’s ability to pull from life experiences growing up and conveying a message that’s greater than himself,” says Haywood-Smith “This album felt like I was making something that I would want my younger self to hear.”

Pre-order Slingshot

Watch video for “God Is A Reptile” by JayWood

Keep your mind open.

[You could subscribe. Just sayin’…]

[Thanks to Sam at Pitch Perfect PR.]

Review: The Staples Jr. Singers – When Do We Get Paid (2022 reissue)

I’m not sure if I can relate in one blog post, or even several, how soulful and lovely When Do We Get Paid by The Staples Jr. Singers is. You’re hooked from the first notes of “Get on Board,” and the album takes you into a blissful, funky, soulful place without worry or strife

What’s even more amazing is how When Do We Get Paid has gone relatively unheard for the last four decades. Only a small number of copies were pressed in the 1970s, and this re-release is easily one of the best finds of the year. Annie, R.C., and Edward Brown took the name of their band from their love of the Staples family singers. The Staples Jr.’s toured the American south and blazed the gospel and grooves for years, and have each since gone on to their own respective music careers.

In modern speak, the album is full of bangers: “I’m Going to a City” will get you dancing in the pews and in the honky-tonks the Browns used to play. “Somebody Save Me” has sultry Alabama blues sweat all over it. I once heard someone say, more or less, “The difference between R&B and gospel is you replace ‘baby’ or ‘honey’ with ‘God’ or ‘Jesus’ in the lyrics.” “Somebody Save Me” perfectly embodies this concept.

“Trouble of the World” is a slow groove that has Annie Brown proclaiming how she’ll (and all of us) instantly forget the problems of this place of illusion once she passes beyond the veil. Indeed, she’s “Waiting for the Trumpet to Sound” on the following track, and you can’t help but start listening for it with her.

On “I Feel Good,” the Staples Jr. Singers let us know that we should all feel good in the knowledge that our sins have been forgiven. The title track has the band holding their heads high despite the racism they faced in 1970s southern U.S. (“More than three years the Staples have sung down here. All the music, here and there, sometimes trouble, sometimes heartbreak…call us everything but a child of God, but we not worrying about that…”).

“On My Journey Home” is almost a garage rock floor-stomper, and R.C.’s guitar work on “Too Close” touches the edges of psychedelic rock. The groove on “Send It on Down” is so good that it (and the whole album, really) must be inspired by the Holy Ghost, as they sing about throughout the track. The album ends with the uplifting “I Got a New Home,” which will get you out of your seat and clapping.

This album should be considered a classic. Heck, I’m surprised Moby or Fatboy Slim haven’t created an entire remix album of it. It’s a stunning work, and it deserves to be heard everywhere.

Keep your mind open.

[When do you subscribe?]

[Thanks to Sam at Pitch Perfect PR.]

Review: Pastor Champion – I Just Want to Be a Good Man

Pastor Champion, who left us for the Kingdom of Heaven just as his music was being discovered, was a man of many hats: Pastor, former gang member, touring guitarist, brother, and probably many others we’ll never learn about unless secret diaries or obscure notes are found.

We do know that he preached and played for the 37th Street Baptist Church in Oakland, California. We also know that his one and only album, I Just Want to Be a Good Man, was recorded with musicians who’d never played with him before then, and it was recorded in just two nights at his church. We also know that it’s a stunning record of gospel, blues, and soul that, if there’s any justice in this valley of tears, will win a Grammy for Best Gospel Album.

Champion pleads with people to come back to the church and Christ on “I Know That You’ve Been Wounded (Church Hurt)” – a song for those who have been disappointed, hurt (physically, mentally, and / or spiritually), or crushed by the church, religion, and families and friends practicing their faith in hurtful ways. “Keep on, God will make it work,” Champion sings over simple chords that almost sound like he’s playing a ukulele.

“He’ll Make a Way (Trust in the Lord)” further emphasizes the theme of relying on faith, and the power of Champion’s faith is evident from the first notes he sings in it. The nearly seven-minute “Talk to God” has Champion grooving with these church musicians he’s barely met, and all of them slide right into his groove with the ease that comes so naturally to accomplished gospel musicians.

“Only what you do for Christ will last,” Champion sings on “In the name of Jesus (Everytime)” – a reminder to put the Creator in the lead and trust His guidance. Hearing Champion teach his impromptu band how to play “To Be Used, by You (I Just Want to Be a Good Man)” is fun to hear, and the rest of the track is lovely (and a warm-up for the closing track).

“Who Do Men Say I Am?” has Champion singing a conversation between Christ and His disciples (from the sixteenth chapter of Matthew). “Storm of Life (Stand by Me)” has Champion crying out to God about troubles that plague him at work, at home, at church, and practically everywhere else – including his worry that he might not be ready for death. “In the Service of the Lord” has some of Champion’s most passionate vocals, and that’s saying something when you consider how much he professes his face throughout the record.

The album closes with the title track, expanding on the earlier version of it with, somehow, even more soul and longing. “Tell me, tell me, tell me, Jesus, what do you want me to do?” Champion sings.

He’s doing things we can’t even fathom now, but at least we have this record as a light in gloomy times.

Keep your mind open.

[Don’t forget to subscribe before you split.]

[Thanks to Sam at Pitch Perfect PR.]

The Staples Jr. Singers release “I’m Looking for a Man” from rare 1970s gospel / funk album.

The Staples Jr. Singers share “I’m Looking For A Man,” from the forthcoming reissue of their sole album, When Do We Get Paid, originally released in 1975, out May 6th on Luaka Bop. In conjunction, the family from Aberdeen, Mississippi, share a live performance video of the new single recorded this past January, and announce a slate of performances in New York City taking place on Saturday, April 23rd, at Baby’s All Right, The Lot Radio, and Friends & Lovers.

Following an invite-only, press preview at The Paris Review in Chelsea, these concerts will be the Staples Jr. Singers’ first performances as a group in over 40 years. It will be their first-ever visit to New York City, as well as an extremely rare appearance outside the South. Presented by Luaka Bop and Boom Collective, this ambitious series of shows—three in one day!—will begin with a “Gospel Brunch” at Baby’s All Right in Williamsburg, then move outdoors to The Lot in Greenpoint, where the Staples Jr. Singers will be broadcast live on-air. While these first two shows will be free, the day will be capped off with a grand finale, an extended set at Friends & Lovers in Crown Heights. It may be one of the best performances that you’ll see all year. The original members of the family band—the siblings Edward Brown, A.R.C. Brown, and Annie Brown Caldwell—will be joined onstage by members of Annie’s family, including her husband Wille Caldwell Sr. and their children Willie Jr., Abel, and Deborah. For tickets, RSVP and more information, go to JuniorSingers.com.

Listen to “I’m Looking For A Man” by the Staples Jr. Singers

Watch the Staples Jr. Singers Perform “I’m Looking For A Man” (January 2022)

Like many gospel groups at the time, the Staples Jr. Singers were a family band: Annie Brown Caldwell was 11, A.R.C. Brown was 12, and Edward Brown was only 13 when they started playing school talent shows, local churches, and front yards near their hometown of Aberdeen, Mississippi, on the banks of the Tombigbee River. As was common practice among gospel acts, they named themselves after their idols: the Staple Singers. As their reputation grew, they started traveling across the Delta and the Bible Belt, piling into their family van on weekends to perform as many as three shows in a single day.

In 1975, at the time of When Do We Get Paid’s release, the Staples Jr. Singers were still just teenagers, and they sold the copies they pressed themselves at shows and on their front lawn to neighbors. With soul-inflected gospel songs that carried timely, subtle social messages, the Staples Jr. Singers responded to what they saw in the South: the struggles of the Black community, the backlash after desegregation, CivilRights.

While the Staples Jr. Singers have all gone on to write an entire catalog of gospel music since the era of When Do We Get Paid, for the original members of the band, the incantatory funk of this music still holds the power to help make a way out of dark and troubled times.

This project from Luaka Bop originates from their acclaimed compilation World Spirituality Classics 2: The Time for Peace Is Now – Gospel Music About Us (2019), which includes the Staples Jr. Singers’ single “We’ve Got a Race to Run” (Best New Music by Pitchfork (8.5), and listed among the best reissues of the year by NPR and Uncut). The compilation also resulted in the 2020 VinylFactory documentary, “The Time For Peace Is Now,” featuring Annie Brown Caldwell.
The Staples Jr. Singers Live In New York City, presented with Boom Collective:
Fri. Apr. 22 – New York, NY @ The Paris Review (press preview, invite only)
Sat. Apr. 23 – Brooklyn, NY @ Baby’s All Right (11am) (RSVP needed, here)
Sat. Apr. 23 – Brooklyn, NY @ The Lot Radio (3pm, live broadcast) (RSVP needed, here)
Sat. Apr. 23 – Brooklyn, NY @ Friends and Lovers (7pm) (Tickets, here)

Listen to “When Do We Get Paid” by The Staples Jr. Singers

Pre-order When Do We Get Paid Reissue

“Please Meet The Staple Jr. Singers” film

Keep your mind open.

[I’m looking for your subscription.]

[Thanks to Sam at Pitch Perfect PR.]

International Anthem releases amazing, rare recording of Charles Stepney’s “Step on Step.”

Today, International Anthem presents “Step on Step,” by the late Chicago producer, arranger, musician and composer Charles Stepney. Stepney died tragically in 1976, and his legacy includes essential behind-the-curtain work on world famous recordings by Rotary Connection, The Dells, Muddy Waters, Minnie Riperton, Ramsey Lewis, Earth, Wind & Fire, Terry Callier, and many many others. In his music – as producer, arranger, and composer – Stepney routinely transcended trend and convention. Much of Stepney’s work, including from his prolific days as a staff arranger at Chess Records in Chicago, employed prismatic horn and string arrangements (in some cases brought to life by the Chicago Symphony Orchestra). His arrangements – like the idiosyncratic underpinnings of “That’s The Way Of The World,” as recorded by Earth, Wind & Fire, “What Color Is Love” by Terry Callier, or “California Soul” by Marlena Shaw – are still squarely in our hearts nearly fifty years after their inception. His sound has been sampled countless times by artists such as A Tribe Called Quest, The Fugees, Kanye West, Jay-Z, D’Angelo, Gang Starr, and Jurassic 5. Yet all too many of us don’t know his name.

He was a genius relegated to the shadows, whose enigmatic lifeforce was snuffed out far too soon. However, his genius is being brought into brighter light by his three daughters, Eibur, Charlene, and Chanté Stepney, who have spent the greater part of their lives engaged in a quest to exalt their father’s legacy.

Today’s “Step On Step,” the first recording ever to be released under Stepney’s name, comes 3 days ahead of what would have been his 91st birthday. The song was recorded by Stepney to 4-track tape in the basement of his home, sometime in the late 1960s. It features Stepney layering his own performances on piano and vibraphone over a primitive drum machine. It is perhaps the most stripped down impression ever heard of Stepney, an artist known for his epic, orchestral arrangements.

Listen to Charles Stepney’s “Step on Step”

This “Step on Step” single is just a beginning. There will be much more news and music to come from The Stepney Family together with International Anthem in 2022.
#SummerOfStepney

Keep your mind open.

[Step on over to the subscription box while you’re here.]

[Thanks to Sam at Pitch Perfect PR.]

Vicky Farewell’s new single, “Kakashi (All of the Time),” is good all of the time.

Orange County-bred Vicky Farewell releases a new single/lyric video, “Kakashi (All of the Time)” from her debut album, Sweet Company, out April 8th on Mac’s Record Label. The anime-inspired standout “Kakashi” came about during a COVID lockdown binge of the Naruto series. “It’s probably the most fun I ever had writing a song,” says Farewell. “It’s also the most embarrassing and I thought I’d never share this with anyone, but here we are.” Elongated synth acts as the song’s backbone, as Farewell’s saccharine voices sparkles across.

Watch Vicky Farewell’s Video for “Kakashi (All of the Time)”

Farewell’s emergence as a solo act is the latest chapter in an already impressive career. A classically-trained pianist, songwriter, and producer, Farewell began to flourish at the epicenter of the funk-addled and deeply experimental Angeleno musical ecosystem alongside The Free Nationals in the studios of Shafiq Husayn (of Sa-Ra Creative Partners) before graduating to the legendary hip-hop producer Dr. Dre’s. She also boasts writing credits on Anderson.Paak‘s acclaimed GRAMMY-nominated album Malibu (Best Urban Contemporary Album) and the GRAMMY-winning album Ventura (Best R&B Album). With this rare combination of elite musicianship and singular vocal performance, Farewell produced, arranged, and engineered Sweet Company herself. Her particular knack for pocket-driven ear worms match the album’s melancholy tone with whimsical notions and unbridled joy.

Sweet Company cements Farewell as a true record producer, complete with the confidence to let the music do the talking. For Farewell, it’s “all about the music and the music is fucking good.”Sweet Company is a bold statement of artistic capacity delivered in feather-light refrains, bursting phasers, and robust arpeggios that conjure pastels and the tender nostalgia of a childhood crush. Farewell finds herself fully realized in the span of eight tracks painstakingly designed to shatter industry norms.

Pre-order Sweet Company

Keep your mind open.

[It’d be sweet if you subscribed.]

[Thanks to Jim at Pitch Perfect PR.]

Rewind Review: Ibibio Sound Machine – Doko Mien (2019)

When I type “afrobeat” into my post here, my computer’s autocorrect feature changes it to “acrobat.” It makes a bit of sense, actually, because Ibibio Sound Machine combining Nigerian afrobeat with house music so well that they are like acrobats moving all around you with astounding skill on their 2019 album Doko Mien.

Opening track “I Need You to Be Sweet Like Sugar (Nnge Nte Suka)” sounds like a Curtis Mayfield track mixed with 64-bit video game blips. Eno Williams‘ soulful, powerful vocals grab you by the ears and don’t let go and Derrick McIntyre‘s bass roots down the whole thing. You think that’s funky? Wait until you hear “Wanna Come Down,” a track that mixes Max Grunhard‘s synths with his saxophone and Tony Hayden‘s trombone and Scott Baylis‘ trumpet so well that you’re not sure where one of the them ends and the other begins.

The title track (also known as “Tell Me”) could be an LCD Soundsystem cut if LCDSS were even funkier. “I Know That You’re Thinking About Me” brings in more soul smoothness to seduce you. “I Will Run” is a synthwave love song that makes you want to make out on the dance floor. “Just Go Forward (Ka I So)” is a call to action (“Just go forward, don’t look back!”) that everyone needs to hear – and follow.

“She Work Very Hard” has some of Alfred “Kari” Bannerman‘s most interesting guitar work on the record, sounding at times like he’s in a funk band, other times in a krautrock band, and other times like he’s in a shoegaze band. “Nyak Mien” is pure afrobeat joy. “Kuka” is even a bit psychedelic.

“Guess We Found a Way” is a trippy slow jam that, if you play it in the presence of a potential lover, you had better be prepared for something to happen. The album ends with “Basquiat” – a fittingly funky tribute to the funky artist who left us far too soon.

Acrobatic afrobeat, indeed.

Keep your mind open.

[Don’t forget to subscribe before you split.]