R&B – Page 5 – 7th Level Music

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

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[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

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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

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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.

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Raw Poetic brings us “Sunny Water” ahead of his new album out March 18th.

Raw Poetic announces Laminated Skies, his official debut solo album out March18thonDef Pressé, and presents its lead single “Sunny Water.” Produced by Raw Poetic (aka Jason Moore) alongside friend and frequent collaborator Damu The Fudgemunk, LaminatedSkies was recorded during the sweltering summer heat of 2019 at Windom Road Studio in Brentwood, Maryland and features guest musicians Pat “P” Fritz (Panacea, Archie Shepp) on guitar and Irreversible Entanglements’ Luke Stewart on bass. Damu’s production adds a tapestry of instrumentation, including live and programmed drums, strings, vibraphone, kalimba, melodica, vinyl scratching, and synthesizers. With Moore pulling musically from myriad genres, the multidimensional work draws inspiration from several sources, including spirituals and Ralph Ellison’s novel The Invisible Man. Today’s single, “Sunny Water” is a serene introduction to Laminated Skies, swirling in hypnotic haziness.

Watch Video for Raw Poetic’s “Sunny Water”

Moore was born in Philadelphia to a rich family legacy. Both of his parents were members of the original Black Panther Party and his uncle is legendary jazz musician Archie Shepp. Before eventually settling in Northern Virginia, Moore was raised in the Washington Metropolitan area, and both Philly and DC have played a major role in his artistry. By college, Moore had founded Restoring Poetry in Music aka RPM, and became the lead MC in Panacea(Rawkus). Formed by producer/beatsmith Kyle Murdock, the duo released five albums before disbanding on a high note in 2010. Throughout his career, quality has remained synonymous with Raw Poetic’s reputation: just see the resume stacked with national tours; further collaborations with K-Def, Blu, and Kev Brown,; airplay on MTV,VH1 and BET, spins on Sirius/XM, GillesPeterson Worldwide FM/BBC 6 Music; syncs on the Showtime series Shameless, Weeds, and more.

Following 2020’s Ocean Bridges, Moore’s highly praised collaborative effort with his uncle Archie Shepp and Damu The Fudgemunk, Laminated Skies is his sixth solo album and his first official release for a label. It’s also his most personal album to date. “I still can’t fully describe what kind of album this is so I’ve now reserved myself to telling people it’s a ‘Jason’ album,” says Moore. “I wanted to tell people what the hell is going on through my head sometimes; how I feel as a guy from Northern Virginia. Sometimes it’s invisible, other times invincible. Sometimes loved, sometimes hurt. Once we got started mixing and matching ideas, well… it became something that I am very proud of.”

Damu elaborates: “I’m extremely proud of what we did on this album. When Raw asked me to get involved I was amped. I’ve watched Raw become a producer over the last ten plus years, teaching himself how to record and lay tracks. His production style is so unique, free and different from mine that I soak up a ton of inspiration from collaborating this way. With both of us usually exclusively perceived as hip hop artists (which we don’t mind), ‘Laminated Skies’ feels like a victory for us to show our appreciation while creating honest art, but escape the box without actually making a formal announcement. It’s easily one of the best things I’ve been a part of.”

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Top 30 albums of 2021: #’s 5 – 1

We’ve reached the top of the chart. Who takes the prize? You’ll find out soon.

#5: Anika – Change

Good heavens…This album is so lush, haunting, and beautiful that it will sweep you away from whatever you’re doing when you play it. Anika’s voice immediately drapes over you like a luxurious robe with a knife hidden in a back pocket.

#4: Rochelle Jordan – Play with the Changes

Seriously, why aren’t more people going nuts over Rochelle Jordan? She mixes soul, house, disco, and trip hop better than most, and Play with the Changes is, if you ask me, the sexiest album of 2021.

#3: Brijean – Feelings

This lovely mix of trip hop, dream pop, bossa nova, and house music is a delight from start to finish. It was a much-needed tonic during the crappy 365 days of 2021. It’s a perfect spin for any time of year. Got the winter blues? Play this. Need a fun record for that summer beach trip? Play this. Need a boost to start your garden? Play this. Looking forward to sipping hot cider in the fall? Play this.

#2: Aaron Frazer – Introducing…

This solo record from one of the cats in Durand Jones and The Indications is one of the best soul and R&B records of 2021. Frazer puts down his trademark sharp beats and brings his other trademark, high-end vocals, with him to create a groovy, sexy blend that impressed Dan Auerbach of The Black Keys so much that he produced it.

#1: Shame – Drunk Tank Pink

This album got locked into my number one spot not long after it was released. It’s a sharp post-punk record, and I remember being more and more impressed with it after each listen. It covers everything from Brexit and the pandemic to boredom and hope for the future. It’s snarky, witty, and powerful.

There you have it. I hope 2022 is good to all of us.

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Top 30 albums of 2021: #’s 15 – 11

We’re halfway through the list. Who’s here?

#15: Alex Maas – Levitation Sessions

This is a haunting live album from the lead singer of The Black Angels, and a performance of Maas’ first solo album – Luca. His backing band is top-notch and it’s like listening to a dream.

#14: Parquet Courts – Sympathy for Life

Chock-full of post-punk bangers and piercing lyrics about life during and after the pandemic that hit harder now than all of last year, Parquet Courts’ Sympathy for Life is one of those records that reveals more of itself with each listen.

#13: TV Priest – Uppers

I’m so glad I heard these guys on BBC 6 Music and tracked down Uppers, because I knew it was going to be one of my favorite records of 2021 within thirty seconds on the opening track. Fun lyrics, ripping riffs, and killer beats make it a go-to record for high energy.

#12: Stöner – Live in the Mojave Desert Volume 4

A live recording that sounds good enough to be a studio album, Stöner’s Live in the Mojave Desert session is like having a desert rock concert in your house. Play at maximum volume.

#11: Durand Jones & The Indications – Private Space

One of the smoothest and grooviest records of 2021 came from these guys who embraced their love of disco and mixed it with their reverence for soul. There isn’t a weak track on the whole album.

We’re into the top 10 tomorrow!

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Review: Durand Jones & The Indications – Private Space

Check out that cover! If that alone doesn’t tell you that you’re in for a treat with Private Space, the new album from Durand Jones & The Indications, then I don’t know what will.

Well, the sound will – that’s for certain. Private Space is an outstanding record that moves away a bit from the band’s love of 1960s soul and R&B and embraces its love of 1970s music, which, yes, includes disco. The album was made during the crazy year of 2020, and the band wanted to create something that not only reflected the time, but would also help listeners forget it, even if for just a little while.

“Love Will Work It Out” is the band’s message of hope for the future. They knew the last political cycle and the pandemic would eventually end, and that leaving hatred behind was the only way to move forward (“Joy will set us free, if you do believe. So, don’t you ever doubt that love will work it out.”). The bubbly, bumping synths of “Witchoo” and the wicked bass by Mike Montgomery get you moving no matter what you’re doing. It’s a great song about partying, either by design or at a moment’s notice.

“Private Space” has drummer / co-lead singer Aaron Frazer singing a tale of longing for escape with his lover (“When we stand in a crowd, I feel so far from you. Here we can’t do the things we both know we want to do.”). As if that wasn’t enough to make you run for the nearest bed with your better half, then “More Than Ever” will probably seal the deal as Jones sings, with effortless smoothness, lyrics meant to invoke a shedding of clothing.

“Ride or Die” is a tribute to the vows of “for better or for worse,” as Jones sings about catching rain falling through a leaky roof in a cup with his lover one day and popping champagne bottles with her later after all their hard work and mutual support. The groove that Frazer, keyboardist Steve Okonski, and guitarist Blake Rhein put down on “The Way That I Do” is nothing short of stunning.

“Reach Out” has Jones singing to, on the surface, a lonely woman who’s burdened with stress, but, in reality, to the world in general as everyone needed a helping hand through 2020 (“All them burdens, it’s more than anyone should bear. Silently hurting, but you know you can always share. You’ve been worried the pain will never cease to ache.”).

“Sexy Thang” is just as naughty and funky as you hope it will be with a title like that. “Sea of Love” has Jones realizing he’s made a terrible mistake by letting a lover go for what he thought were greener pastures. Frazer’s simple yet groovy beats pair perfectly with Jones’ vocals and piano work on it. The album closes with the uplifting “I Can See” – a track that stresses better times will come if we work together (“We can’t make it on our own. There’s another way through the darkness all alone. There’s a brighter day.”).

It’s a wonderful record, and one that we all needed coming out of the heaviest part of the pandemic (not to mention the 2020 election and all its aftermath).

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Durand Jones and the Indications proclaim the truth on “Love Will Work It Out.”

Durand Jones & The Indications release a new single/video, “Love Will Work It Out,” from their forthcoming album, Private Space, out July 30th on Dead Oceans in association with Colemine Records. Anchored by the high-low harmonies of Aaron Frazer (drums/vocals) and Durand Jones (vocals), and rounded out by Blake Rhein (guitar), Steve Okonski (keys), and Mike Montgomery (bass), Private Space leans into hope, coalescing around the idea that joy can set us free. “I want listeners to know that through really rough times something beautiful can be birthed,” says Jones, who proclaims on “Love Will Work It Out” that “All the people lost made me fall right onto my knees/all I could do was cry and shout/I knew I had to trust the faith that love would work it out.” The track – inspired by both the pandemic and social justice movements of the past year – is a mellow groove, as Jones’ voice is carried by drifting keys, relaxed percussion, and elegant strings.

“For months into the pandemic and the racial/political chaos that ensued, we found it hard to write,” says the band. “The biggest creative dry spell we’d experienced in a decade. The constant barrage of horrible news felt overwhelming, and songs just seemed inadequate in response to police murdering people in broad daylight. Songs felt inadequate in the face of a virus that decimated communities and kept us apart from our loved ones. We marched, protested, cried, wiped down our groceries, stopped wiping down our groceries, unplugged, breathed, replugged, reengaged. And when music finally flowed, the first song we wrote together was ‘Love Will Work It Out.’ Because conflict and confrontation require bravery, AND so does keeping the faith in the goodness of one another. It’s a big part of what so many people are fighting for- the benefit of the doubt, the ability to be seen as whole, the space to love and trust. It’s been a tough year, but we’ve come out the other side steady and hopeful.”

The accompanying video, directed by Weird Life, presents the band’s retro aesthetic as they perform.

Watch Durand Jones & The Indication’s Video for “Love Will Work It Out”

Following The Indications’ 2019 album, American Love Call, Private Space unlocks the door to a wider range of sounds, boldly launching the band into a world of synthy modern soul and disco beats dotted with strings. The Indications are true masters at melding revival sounds with a modern attitude. The ten tracks across Private Space provide for both an escapist fantasy and a much-needed recentering after a tumultuous 2020.

Developed after being apart for much of the year, Private Space is creatively explosive and delights in upending expectations. Throughout, The Indications highlight a collective resiliency – as well as the power of a good song to be a light in the darkness. From ideation to the final album cut, Private Space is a meditation on what gets us through isolation and loss: community, love and friendship. As the world slowly resets from the chaos of the past year, Private Space comes at just the right time. “I feel we’ll be arriving into people’s lives as they’re exiting a really tough period,” Frazer theorizes. “We’re not out of the woods, but hopefully this allows people to get together again, to share and experience catharsis.”

Watch the Video for “Witchoo”

Pre-order Private Space

Durand Jones & The Indications Tour Dates (new dates in bold):
Sat. Sep. 4 – Hershey, PA @ Harrisburg University At The Englewood
Tue. Sept. 7 – Boston, MA @ Paradise Rock Club w/ 79.5
Wed. Sep. 8 – Philadelphia, PA @ Union Transfer w/ 79.5
Fri. Sept. 10 – Brooklyn, NY @ Brooklyn Steel w/ 79.5
Sat. Sept. 11 – Washington DC @ 9:30 Club w/ 79.5
Mon. Sept. 13 – Chicago, IL @ Vic Theatre w/ 79.5
Tue. Sept. 14 – Minneapolis, MN @ Fine Line w/ 79.5
Thu. Sept. 16 – Denver, CO @ Gothic Theater w/ 79.5
Fri. Sept. 17 – Salt Lake City, UT @ The Commonwealth Room w/ 79.5
Mon. Sept. 20 – San Diego, CA @ Soma w/ 79.5
Mon. Sep. 21 – Los Angeles, CA @ Hollywood Palladium w/ 79.5
Wed. Sept. 22 – Los Angeles, CA @ Hollywood Palladium w/ 79.5
Thu. Sep. 23 – Santa Barbara, CA @ Santa Barbara Bowl w/ My Morning Jacket
Fri. Sept. 24 – Dana Point, CA @ Ohana Fest
Sat. Sep. 25 – Berkeley, CA @ Greek Theatre at UC Berkeley w/ My Morning Jacket
Tue. Sep. 28 – Troutdale, OR @ Edgefield w/ My Morning Jacket
Wed. Sep. 29 – Spokane, WA @ Spokane Pavilion at Riverfront w/ My Morning Jacket
Fri. Oct. 1 – Seattle, WA @ Paramount Theater w/ My Morning Jacket
Sat. Oct. 2 – Seattle, WA @ Paramount Theater w/ My Morning Jacket
Sun. Oct. 3 – Bend, OR @ Les Schwab Ampitheater w/ My Morning Jacket
Fri. Oct. 8 – Austin, TX @ Austin City Limits Music Festival
Thu. Oct. 28 – Sun. Oct. 31 – Live Oak, FL @ Suwanee Hulaween
Sun. May 22, 2022 – Monterey, CA @ California Roots Festival

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[Thanks to Sam at Pitch Perfect PR.]

Growing Concerns Poetry Collective releases haunting new single – “First You Need a Body.”

Last fall, Chicago-based group Growing Concerns Poetry Collective released BIG DARK BRIGHT FUTURES, an album that finds the common place between the personal and political as it explores the depth of social chaos while conjuring visions of collective transcendence. Today, they are pleased to present a video for the standout track, “First You Need A Body.” Throughout the song, MzKenzie Chinn describes “learning to love her body and sexuality despite a Catholic upbringing” (Bandcamp). Featuring the collective’s three members – McKenzie Chinn, Mykele Deville, and Jeffrey Michael Austin – the video shifts between a south side Chicago beach at dawn, a tennis court, and the home shared by Chinn and Deville. The dreamy visuals (captured by Remsy Atassi) kaleidoscope across environments meant to evoke both the power and delicateness of Black femininity, while lyrics like “You can’t call the cops on a body that can turn into light” celebrate the transformational magic of Black femme sensuality despite the limitations imposed on Black womanhood by anti-Black American culture.

Watch Growing Concerns Poetry Collective’s Video for “First You Need A Body”

Stream/Purchase BIG DARK BRIGHT FUTURES

Watch Video for “Shout Across Mountains”

Watch Video for “Come To Me Open”

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